6 x 96 in. / 15.24 x 243.84 cm
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall. Its severed tip dangles from the end of the blade by a string, floating just above the gallery floor.
Mumbai-based Shilpa Gupta’s practice crosses disciplines and media to include interactive videos, websites, objects, photographs, sound, and public performances. Probing and examining themes such as desire, religion, tradition, gender, global capitalism, social injustice, security, borders, and power, Gupta actively engages herself with the political and cultural world around her.
                                    
                                    Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
                                    
                                    Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
                                    
                                    For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
                                    
                                    Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
                                    
                                    Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
                                    
                                    The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
                                    
                                    Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
                                    
                                    In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
                                    
                                    Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
                                    
                                    This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
                                    
                                    Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
                                    
                                    Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
                                    
                                    Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
                                    
                                    The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
                                    
                                    For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
                                    
                                    The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...