This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper. Alÿs often executes such sketches in preparation for his performances, videos, and larger two-dimensional bodies of work. As the first visual representations of his ideas, they capture his thinking processes at the raw conceptual stage and allow us to gain a deeper understanding of his larger works.
Trained as an architect, Alÿs turned to a visual arts based practice in the early 1990s as a more immediate, direct, and effective way of exploring issues related to urbanization, to the ordering and signification of urban space and to the semiotics of its use. His work initiates with a simple action, either by him or others, which is then documented in a range of media. Alÿs explores subjects such as modernizing programs in Latin America and border zones in areas of conflict, often asking about the relevance of poetic acts in politicized situations. Documentation is central to his practice as well as painting, drawing, and video. In his work, When Faith Moves Mountains (2002) made in collaboration with Mexican critic Cuauhtemoc Medina, Alÿs recruited 500 volunteers outside of Lima, Peru. Each person moved a shovel full of sand one step at a time form one side of a dune to the other, and together they moved the entire geographical location of the dune by a few inches. Critic Jean Fisher linked Alÿs’ work to the radical event of precipitating a crisis of meaning, where the exposure of a void of meaning is confronted by its social situation, leading up to some kind of truth. Francis Alÿs was born in Belgium in 1959. He lives and works in Mexico City.
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
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Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...