11H x 14W inches
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes. Here, da Cunha overlays thick bars of color (blue, green, and red) on photographs of the ocean at sunset with surfers in floating on the horizon. The solid colors contrast with the fading colors reflected in the sunset, and the tilted orientation suggests a familiar California beach scene.
Alexandre da Cunha reinvents found objects in surprising ways that combine the material characteristics of Arte Povera with the concerns and techniques of painting. Da Cunha’s work often features flags—either as a found material per se or as a constructed form—that reflect the artist’s interest in issues of nationality, governmental politics, allegiance, and culture.
His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
The artist describes the work as “very performative video-pieces but they take on a more sculptural feel...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
Third Realm (2011) grew out of the artist’s long-term research of Indonesia’s colonial history and the processes of modernization and urbanization that have taken place there...
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...