NFT (NFT)

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history. Kurant’s fictional mineral-currency is at once data visualization, a sly commentary on global markets, and a speculative narrative about the connection between technology and geology (for example ‘conflict minerals’ used in smartphones). Inspired by the way natural forces shape rocks, landscape, and planets over time, Sentimentite ’s evolving forms are shaped by dynamic social and political ruptures in the 21st century.

NFT (NFT)

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history. Kurant’s fictional mineral-currency is at once data visualization, a sly commentary on global markets, and a speculative narrative about the connection between technology and geology (for example ‘conflict minerals’ used in smartphones). Inspired by the way natural forces shape rocks, landscape, and planets over time, Sentimentite ’s evolving forms are shaped by dynamic social and political ruptures in the 21st century.

NFT (NFT)

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history. Kurant’s fictional mineral-currency is at once data visualization, a sly commentary on global markets, and a speculative narrative about the connection between technology and geology (for example ‘conflict minerals’ used in smartphones). Inspired by the way natural forces shape rocks, landscape, and planets over time, Sentimentite ’s evolving forms are shaped by dynamic social and political ruptures in the 21st century.

Film & Video (Film & Video)

Miljohn Ruperto’s high-definition video Janus takes its name from the two-faced Roman god of duality and transitions, of beginnings and endings, gates and doorways. He is usually depicted with two faces as he looks both forward and backward, to the future and the past. The video, which is deftly animated in collaboration with Aimée de Jongh, presents a close-up of a dying “duck-rabbit,” a vivified version of an ambiguous illustration made popular by the Austrian-British philosopher Ludwig Wittgenstein in his Philosophical Investigations .

Film & Video (Film & Video)

Miljohn Ruperto’s silent video work Appearance of Isabel Rosario Cooper is an archive of ghosts. The video’s title figure, a Filipina actress, vaudeville dancer and singer who played racialized, peripheral roles in Hollywood in the 1940s and 1950s, flits in and out of a montage of scenes. Ruperto digitally modified the 16mm film by blurring the background and all of the figures in each scene except for Cooper herself.

Film & Video (Film & Video)

Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives. These conceptual throughlines also underpin Ruperto and Minnesota-based director Rini Yun Keagy’s eerie experimental documentary Ordinal (SW/NE) , which collapses mythology, scientific research, Californian agricultural history, American literature, and speculative fiction into a poetic and timely examination of possession, infection, and individual agency in an age of wanton industrial agriculture and alienation. Ordinal (SW/NE) tells the tale of a young Black man named Josiah as he navigates the banalities of daily life while potentially being possessed by a malignant supernatural force or stricken by valley fever, a little-known yet gruesome and sometimes lethal real-life respiratory illness which disproportionately affects farm and field workers, particularly Filipinos and African-Americans.

Film & Video (Film & Video)

Acting Exercise: Demon Possession is a video by Miljohn Ruperto that addresses notions of performativity, the self, and collective truth. Set in an empty, derelict room with nothing but an old mattress on the floor, the film features a series of actors independently performing a demonic possession, or at least their interpretation of what one would look like. Although each reenactment is slightly different, actor after actor, the viewer is confronted with a common thread: a near archetypal response that binds them all together.

Drawing & Print (Drawing & Print)

Agnieszka Kurant’s Placebo VIII brings together a series of imaginary pharmaceuticals invented within the fictional narratives of literature and film. Displayed in a custom cabinet, these imaginary drugs are materialized as physical objects, packaged in meticulously designed boxes, listing dosage and description information along with references to the fictional source. Each box is filled with placebo tablets.

Photography (Photography)

Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances. Not to be mistaken as mere portraiture, however, Simmons’ works are explorations of the Black body in relation to landscape and other dimensions of non-linear space and time. Concealing and flattening her subjects with costumes and collage-like, abstract pictorial devices, the artist arranges archival photographs, printed textiles, and anthropological artifacts in configurations that highlight the power of visual culture to shape contemporary understandings of the self.

Film & Video (Film & Video)

5 is a three channel video about the dualities of death and resurrection, reminiscence and fantasy, chronological and retrospective narration. The main video features two dancers intertwining, caressing in trancelike movements, with intimacy eventually leading to scarring and bleeding. Towards the end, the trace of bodily movements and fluids crescendo in an image of a skull in a synthesis of performance, painting and theater.

Photography (Photography)

Lockhart’s film Lunch Break investigates the present state of American labor through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U. S. naval shipbuilding company—in Maine. Gary Gilpatrick, Insulator (2008) belongs to a group of portrait-like photographs of the shipyard’s workers lunchboxes. Created over the period of a year, Lockhart’s film and accompanying still photographs are intended as an exploration of the social spaces inside this kind of workplace.

Photography (Photography)

Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U. S. naval shipbuilding company—in Maine. Stanley “Tom” Durrell, Tinsmith (2008) belongs to a group of portrait-like photographs of the shipyard’s workers lunchboxes. Created over the period of a year, Lockhart’s film and accompanying still photographs are intended as an exploration of the social spaces inside this kind of workplace.

Film & Video (Film & Video)

The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways. The video begins with the pedestrian traversing a seemingly idyllic ivy lined stone and concrete thoroughfare. As his pace begins to accelerate, the camera follows him with greater urgency, slowly settling and become stable again as his pace decelerates.

Film & Video (Film & Video)

The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground. As both frames progresses, a montage of large crowds of mourners are depicted in slow motion interwoven with a variety of images including bomb explosions, fireworks, vacant stores, sunsets and sunrises, beachside landscapes, and infrared shots. At midpoint, life in the year 4012 is foreshadowed down to living insects and the video concludes back in the year 2012 as a burning inferno.

Photography (Photography)

Visalia Livestock Market, Visalia, California results from Lockhart’s prolonged investigation of an agricultural center and community. Lockhart traveled around California’s Central Valley, spending time with cattle ranchers on their properties and attending livestock auctions with them and getting a sense of the rhythm of their lives. Throughout this time, the artist shot more than one hundred four-by-five-inch negatives but chose to print just this one from the series.

Photography (Photography)

San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel. California Stories: Attempt to correlate social class with elevation above main harbor channel (San Pedro, July 1975) (1973–2011) is a series of coupled gelatin silver prints that show the artist using his hand to measure the elevation of various pieces of real estate, ranging from a manicured mansion to a ramshackle beach house. A direct equation becomes evident between the social strata these homes represent and the height at which the artist holds his hand.

Film & Video (Film & Video)

In the video installation Tremble, Jiang projected the life-size images of seven naked men and women onto seven individual screens. Each person displays a different facial expression and body position such as reading a book, arms open for a hug, holding a knife, raising a fist to take an oath. Each gesture reflects some essential social aspect of everyday life: hugging is about caring, taking oath has to do with politics, reading relates to acquiring knowledge, and raising a knife indicates violence.

Film & Video (Film & Video)

New Town Ghost (2005) is one of Lim’s trio of large-scale video installations. (The other two are S. O. S—Adoptive Dissensus [2009] and The Weight of Hands [2010].) The series grew out of her interest in capturing lost memories and the collective unconscious in rapidly globalizing cities such as Seoul.

Performance (Performance)

In Fiction on Auction , the site of the auction is used to stage a fiction where the right to appear as character in Looking for Headless is offered to the highest bidder: the name of the successful biddder as registered for the auction will form the name or identity of the character appearing in the novel. Looking for Headless is written by the fictitious author K. D and tells the story of two artists Simon Goldin and Jakob Senneby who collaborate with an author, John Barlow. Goldin and Senneby investigate an offshore company on the Bahamas called Headless Ltd whilst Barlow writes a docu-fictional murder-mystery, also called Headless, based on these investigations.

Film & Video (Film & Video)

Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world. The video—located in an imagined contemporary Malaysian middle-class living room, a space of a fictive former imperial power—explores the precarious link between fact and fiction, fakery and authenticity by overlaying three believable, authoritative forms: a documentary, a website, and a realistic reconstruction of a contemporary home. It is rife with occidental colonial documents and exotic cultural artifacts—the trophy-evidence of Empire-making.

Installation (Installation)

Masterpiece in the Water by Lu Pingyuan tells the story of an impatient collector who is killed by an artist. This murder becomes an artwork in of itself as the story within the story sheds light on the psychological anxieties faced by soldiers during war time, the family bond, and the paranormal. This playful, yet violent, story explores the amusing similarity between supernatural events and the creation of artistic ideas, while reflecting on the complex relationships that exist within the art world.

Film & Video (Film & Video)

Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas. Syms’s 4-channel installation follows the central character (an aspiring artist also named Martine Syms) on a journey home from the dentist after receiving “laughing gas.” Mixing multiple points of view, clips borrowed from TV, as well as layers of comedy, fiction, reality, and critique, Syms’ work also delves into issues of race, culture, and representation. For Los Angeles-based Martine Syms, popular culture, television, and the cultural histories woven through both are starting points for her interdisciplinary art practice.

Film & Video (Film & Video)

The Invaders by Ghita Skali is a tale that bites you. This short film, staged in the first few months of the COVID-19 pandemic, in a broader context of increasingly xenophobic and racist policies in western countries, uses comedy to flip the stigma. First, Skali sets the scene: Once upon a time, a virus came and changed the plan .

Sculpture (Sculpture)

This work was conceived by Zhilyaev as part of the M. I. R.: Polite Guests from the Future exhibition. This iteration of the imagined Museum of Russian History (M. I. R.) is seen from a distant future standpoint. The Russian word ‘mir’ means both peace as well as ‘the world’, and is also the name of the first space station to ever orbit earth.

Film & Video (Film & Video)

Dreaming of the dream of the dream is a 16mm projection consisting of images of waves that come and go continuously. The artist has assembled extracts of cartoons in which water is visible (the sea, bubbles, a stream, waves, etc.). Somewhat nostalgic, these extracts can recall either childhood cartoons or paintings by Hokusai.

Sculpture (Sculpture)

His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s.

Film & Video (Film & Video)

Dr. N Song belongs Ozawa’s body of work The Return of Dr. N in which he follows a humorous fictional character based upon the historical figure Dr. Hideyo Noguchi who researched yellow fever in Ghana in 1927. Though Dr. Noguchi was known for his unruly temper and behavior and many of his discoveries were erroneous, he was widely revered in Japanese society. Ozawa’s Dr. N story explores links between Japan and Africa, past and present, fact and fiction, through the commissioned work of Ghanaian painters and musicians working in popular African styles.

Sculpture (Sculpture)

His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s.

Sculpture (Sculpture)

His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s.

Sculpture (Sculpture)

His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s.