Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval. Untitled (Set of Six Drawings) (2012) is an intricate watercolor of a child sitting cross-legged with its head stuck inside a giant mask resembling a duck head covered with eyes. It looks like a scene snatched from science fiction or a surreal dream; it is tempting to see in it some kind of warning sign, or an ominous vision of the future.
Adrian Villar Rojas’s sculptures and drawings envision the end of human civilization. Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval.
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
Though the title might suggest an Adonis, Jeffry Mitchell’s The Swimmer (2012) is a squat, jolly man with a protuberant belly...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
David Gustav Cramer’s are composed of simple, descriptive texts accompanied by found photographs, letters or other materials...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
Designed as an installation timed spent is determined by the viewer, as with classical sculpture, Anthems is a piece that is in place, and in time, and an important genre of video within the collection...