Photography (Photography)

In Linda, Lee & Dorsey, Louis (1988~, 2018) Marcel Pardo Ariza draws on Bay Area queer histories that have been uncovered from local archives and queer organizations, and connects them to people currently living in the Bay, where Ariza is also based. This particular portrait features a skein of arms and legs, in both color and black and white print, intimately woven together. Tender and sensual, the tangle of limbs incorporates both stereotypically feminine and masculine traits in various skin tones.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.

Film & Video (Film & Video)

PANGKIS by Yee I-Lann is a looped video performance. The work is named after the triumphant warrior cry, an animistic guttural call, which punctuates the traditional Dusun Sumazau dance. For this work, the artist collaborated with Tagaps Dance Theatre, a group of young dancers whose practice merges traditional and contemporary styles.

The five drawings included in the 101 Collection are representative of Pettibon’s characteristic cartoonish style. The images in them allude to his ever-recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. However, it is worth noting that this formal quality of his work is not exhausted in the simple illustration.

Photography (Photography)

Mohamed Bourouissa’s “ Shoplifters” Series was created in 2014-2015, in a neighborhood supermarket in Lefferts Garden, Brooklyn. The store manager used to take and display Polaroids of thieves caught in the act. In the tradition of appropriation artists –from Marcel Duchamp to Richard Prince– Bourouissa simply reproduced these photographs and transposed them into the field of art to foster questioning.

Sculpture (Sculpture)

Wheat Mollah ( 2011) is one of Slavs and Tatars composite object. The title Wheat Mollah has various interpretations, from “master” or spiritual authority for Shiites and “friend” for Sunnis. The turban is also worn in a diversity of cultures and religions in Africa, Asia and India.

Installation (Installation)

Nicolás Bacal uses everyday materials to evoke systems in his sculptures and installations. He often employs and alters clocks, using them as metaphors for human relationships. Light Years (2008) consists of 12 measuring tapes of different lengths, radiating out elliptically from a central mounting point on the wall.

Film & Video (Film & Video)

In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio. It isn’t just any object, but an iconic sculpture of the end of the 20th century: Jeff Koons’ Bunny. One key question in this work is of course the construction of images, but there is also the question of sculpture, of the passage from two-dimensionality to three-dimensionality.

Installation (Installation)

The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations. Hats and photographs are regularly part of his appropriations and arrangements. He famously made numerous trips to England in search of old photographs when he was an antique dealer, and then worked in a gift store with his wife when he left the art world in the 1980s.

Coué 1 is an animated sculpture that hypnotically highlights the self-motivating leitmotiv of the ‘Coué Method’: “Every day, in every way, I’m getting better and better.”This is the mantra that is repeated by different male and female voices in the soundtrack – first in an incomprehensible painfully slow slur, becoming clear and speeding up into a drilling hilarious sounding high pitching spin, as if helium had been inhaled. This work was commissioned by the Association GEF Psy in Nancy under the aegis of the Fondation de France in order to commemorate Emile Coué (1857-1926) who was a French behavioral psychologist and pharmacist who particularly studied the effects of positive thinking. Séchas also created a Monument to Jacques Lacan in 2002 featuring the cat, his house-style character.

Installation (Installation)

Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Unconformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens. The work questions how, at a time when traces and memories no longer exist, and the earth remains the only witness of our past, history is produced, and how the stories of our civilization are written and told. In each location, the artists collected soil samples, which they asked experts to analyze before creating a series of narrations and coded drawings.

Installation (Installation)

Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Uncomformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens. The work questions how, at a time when traces and memories no longer exist, and the earth remains the only witness of our past, history is produced, and how the stories of our civilization are written and told. In each location, the artists collected soil samples, which they asked experts to analyze before creating a series of narrations and coded drawings.

Painting (Painting)

In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon. The object and its ground both glow, but the chapel-shape is crisp and simple, reminiscent of a piece of cut paper. Like many of Therrien’s early pieces, this abstraction slips into representation and the visual and spiritual power of the image is emphasized by the strong central placement of the chapel.

Photography (Photography)

Columpio

Photography (Photography)

Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July. I traveled to Mali for three weeks and took some photographs related to my work. They are very different, but there are links as the graveyard of Timbuktu, which I discovered during the trip.

Photography (Photography)

Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994). The artist arrived a week prior to the opening with no artwork to install, and created three spontaneous works from locally sourced materials. This one was made of white plastic record sleeves that Orozco arranged on the damp roof of the gallery.

Film & Video (Film & Video)

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. Shot from an aerial vantage, the camera tracks the daily commute on a small stretch of concrete highway. The camera films the traffic below in short five-second excerpts before blacking out; time begins to collapse as the video shifts between scene, and the hours compress into minutes as daylight quickly turns into night.

Gabriel Orozco often documents found situations in the natural or urban landscape. He travels armed with his camera and insightfully captures scenes of the everyday that other people might ignore. Perro en Tlalpan (Dog in Tlalpan, 1992) is a photograph of a dog regally perched under an industrial shelter in the borough of Tlalpan in Mexico City.