Photography (Photography)

It is with the eye of a sculptor that Charlotte Moth records modernist architecture and its copies which she encounters during her trips and residences. Photographed in black and white, these architectures seem empty, out of time, and open to any interpretation. The artist creates a classification of her species of spaces, called the “Travelogue”, which is both artwork and tool since it allows her to ceaselessly generate new works.

Photography (Photography)

Charlotte Moth asked the art critic Francesco Pedraglio to write a text in response to the Man Ray film “Les Mystères du Château de Dé”, the decor of which was the Villa Noailles, built by Mallet-Stevens. Pedraglio’s text was then displaced since the artist attributed it to her own photographs taken on the rue Mallet-Stevens in Paris. A percussionist gave a audio response to the film during the opening at the Halle fu?r Kunst in Lüneburg, in 2010.

Photography (Photography)

It is with the eye of a sculptor that Charlotte Moth records modernist architecture and its copies which she encounters during her trips and residences. Photographed in black and white, these architectures seem empty, out of time, and open to any interpretation. The artist creates a classification of her species of spaces, called the “Travelogue”, which is both artwork and tool since it allows her to ceaselessly generate new works.

Drawing & Print (Drawing & Print)

Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title. As with many of his works, the artist has taken a found image and manipulated it to draw out and dramatize the formal contrast between the black hands holding white cotton. Cotton, of course is one of the most familiar fabric sources to us, and becomes incredibly soft once processed.

Photography (Photography)

At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country.

Sculpture (Sculpture)

Although typically sold today as a novelty item for flower arrangements and interior decorating flourishes, cotton can also be seen as a proxy, through synecdoche, for US slavery. Dead Zone (4) by Aria Dean presents a preserved blossom of that trade’s primary cash crop, cotton, crystalized in a state of non-decay whilst encased under protective glass. Hidden in the base of the work is a signal jammer which prevents mobile phones from broadcasting when nearby.

Textile (Textile)

Out of simple materials, Alicia Henry creates enigmatic, somewhat troubled characters, which reveal her interest in the complexities and the contradictions surrounding familial relationships. The artist probes societal differences and how these variations affect individual and group responses to themes of beauty, the body, and broader issues of identity. Untitled explores these themes and addresses the processes through which women navigate such issues.

Painting (Painting)

Llorar mucho (To Cry A Lot) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina. It also picks up the thread of earlier works, accentuating the use of cotton, and embracing an almost cornily sentimental tone.

Painting (Painting)

¡Qué triste estoy! (I’m So Sad) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina.

Painting (Painting)

Fred Wilson’s flag paintings document the 20th century history of African people, indexing the period of liberation from colonialism. As the majority of African flags were created during the 1950s and 60s, they were intended to reflect a so-called ‘modern’ aesthetic and ideology. Many African flags maintain the typical flag tropes such as stripes, stars, birds, and blocks of primary and secondary colors; green to represent the land; blue to symbolize the ocean or sky; and red to recall the violence that occured in the pursuit of liberty.

Installation (Installation)

Referencing psychology, philosophy, and spiritualism, A series of personal questions addressed to a Hikimawashi kappa traveling coat by James Webb is an ongoing series in which the artist poses spoken questions to objects via a speaker installed near the object on display. The questions are addressed to the objects as if they were sentient beings able to respond. Each question is left hanging, unanswered for approximately 10 seconds before the next question is posed.

NFT (NFT)

In conjunction with his first NFT sale of White Male Dread Scott made and circulated a poster titled Whites For Sale . The indigo-colored poster advertises a “cargo” of newly arrived white slaves, from which one will be for sale. This work is adapted from a 1796 slave sale announcement poster that is now archived in the library at Columbia University, NYC.

Textile (Textile)

A “mata ni pachedi” is a piece of painted textile that depicts narrative images of goddesses. Traditionally, the images would be painted onto a piece of cloth found in the temple. Also known as the “kalamkari” (a hand-painted or block-printed cotton textile), “mata ni pachedi” literally translates to “behind the mother goddess”.

The various distinct but connected lineages of Himalayan painting remain thriving languages employed by artists from across the region to express their unique perspective in our shared contemporary world. In Bhutan in particular, this language is prevalent and its maintenance is seen through the political prism of preserving Bhutan’s identity in the global world. That being said, o ffering by Gyempo Wangchuk presented an attempt to bring a critical dimension within the traditional Himalayan forms of expression.

Drawing & Print (Drawing & Print)

Presented as part of a recent group of works titled The Paradox of Healing, Rhombus for Healing No. 2 by Sandra Monterroso brings together several of the artist’s interests: the use of ritual and medicinal elements; the conciliation of Western and indigenous formal languages; and more recently, sewing as a recognition and celebration of her maternal lineage. The series as a whole and this painting in particular continue her interest in textiles as visual references and cultural tools to address her native Guatemala’s complex political and cultural histories.

Installation (Installation)

Agony of the New Bed by Sheelasha Rajbhandari brings out the familiar yet often ignored reality of gender discrimination and taboos built within the construct of marriage. Part of the artist’s series Marriage Taboos , these portraits of women from different age groups in Nepal are staged on cotton mattresses placed on miniature golden matrimonial beds. The embroidered text on top of the portraits in golden threads are a representation of the range of vulnerable and resilient emotions experienced by women and the social beliefs towards them.

Film & Video (Film & Video)

Leila Weefur’s two-channel video installation Between Beauty & Horror focuses on the sensorial and somatic experiences that give Blackness a distinct and inherently racialized materiality. The narrative structure of Between Beauty & Horror operates on dream logic; interspersed among the dream sequences of the video are moments that fluidly shift between violence, playfulness, tenderness, and of course, beauty and horror. Weefur’s work poses many questions about the Black experience, but it offers no easy answers.

Installation (Installation)

o que diriam as pedras a marte? [What would the stones say to Mars?] is a sculptural work consisting of two parts by arquivo mangue.