Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Film & Video (Film & Video)

In the video The Syphilis of Sisyphus (2011), Reid Kelley transported her heroine to the French demimonde. The film centers on a pregnant Parisian prostitute who exemplifies Baudelaire’s paean to the superiority of cosmetic over natural beauty. With sets that shift between Sisyphus’s boudoir and the streets of Paris, the work is an antic romp through Revolutionary and post Revolutionary France, with brief vignettes involving everyone from Diderot, Marie Antoinette, and Marat to Robespierre, Napoleon, and Haussmann.

Painting (Painting)

Untitled (Boom Box, Double-Sided) by Mary Ann Aitken is representational painting of a boom box on an unconventionally long canvas painted on both sides, to mimic the scale and appearance of the actual appliance. Known for going against trends, Aitken often favored dimensions, such as the square, that were otherwise considered out of style in contemporary painting. In this double-sided painting, one side depicts the titular boombox set up—a boxy cassette player, flanked by a pair of stereo speakers in front of wood panelling.

Painting (Painting)

Untitled (Diptych) by Mary Ann Aitken is a pair of paintings; one entirely abstract and the other a hybrid of representational and abstract elements. The left-side painting is a cacaphonous all over composition of brushstrokes layered in the artist’s signature primary colors. In the same color scheme, the right-side painting portrays a still life with an arrangement of flowers as its focal point, with marks and splatter spilling from the left-side composition into the right.

Film & Video (Film & Video)

Priapus Agonistes by Mary Reid Kelley and Patrick Kelley is the first work in The Minotaur Trilogy (2013-2015), a trio of videos that reimagine the Greek myth of the Minotaur. The monstrous result of Queen Pasiphae’s infatuation with a bull, the Minotaur lived in a huge maze known as the Labyrinth where he would devour sacrificial offerings of youths and maidens. Traditionally, the story centers on Theseus and his heroic (and successful) quest to conquer the Minotaur, subsequently freeing the people of Athens from their obligations.

Film & Video (Film & Video)

By testing the limits of identification with the camera’s point of view, Delphi Falls cycles through multiple subjectivities. The film misuses more traditional narrative conventions -the suggestion of a story, the anchoring of actors as characters- to have the viewer constantly questioning who or what they are, and where they are located in the film’s world. Delphi Falls was included in the 2017 Whitney Biennial film program.

Film & Video (Film & Video)

The Dragon is the Frame by Mary Helena Clark is an elegy that is somewhat paradoxically organized as a film noir or murder mystery, one that pays direct homage to Hitchcock’s Vertigo . But the parts don’t fit, and it is only in the eventual recognition of this faux raccord that Clark’s higher purpose becomes apparent. As we hear Bernard Herrmann’s score, we see the Golden Gate Bridge, Mission Dolores, and other Vertigo locations in the present day.

Film & Video (Film & Video)

Situated in German-occupied Belgium at the end of World War I, Y ou Make Me Iliad by Mary Reid Kelley focuses on the story of two. characters: a Belgian prostitute working near the frontlines and a young German soldier charged with monitoring the brothels. Harboring literary aspirations, the soldier goes in search of material to complete his novel.

Photography (Photography)

Kelley’s 2015 portrait of the poet Charles Baudelaire is one of a series of poets, rappers, and other thinkers who have influenced the artist’s ideas about beauty, creativity, and expression. As a challenging artist who marches to her own drum, Mary Reid Kelley is in the vanguard of a generation that blends the digital and the analog to dialogue with history. From 2009 to the present, she has made videos that fuse live performance, animation, drawing, sculpture, and digital design.

Sculpture (Sculpture)

Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities. “Floating Mountain” is one of a group of works made from wool that overtly depict mountain forms. Suspended from the ceiling, the sculpture floats just above the floor.

Installation (Installation)

A vehicle without light is a group of more personal photographs. This includes an image of a pirate radio in the 1960s, a story from the BBC website and the photo of Mary Aurore. Mary Aurore, is in fact a character he invented whose identity is impossible to determine but who appears in various works.

Film & Video (Film & Video)

Yael Bartana received great international attention for the trilogy series And Europe Will be Stunned (2007 – 2011). The series, which includes the films Mary Koszmary (Nightmare) (2007) , Mur i wieza (Wall and Tower) (2009), and Zamach (Assassination) (2011), centers on a young Polish politician’s call for the return of 3.3 million Jewish people who emigrated to Palestine. The films employ the same techniques of Leni Riefenstahl’s Nazi propaganda films, combining fact and fiction with the past and the present.

Film & Video (Film & Video)

In Los amantes (The lovers) Diana Fonseca Quiñones uses simple, commonplace objects and experiences that she derives from daily life to develop narratives that mix reality and fiction. Drawing on seemingly everyday moments, such as lighting a match, Quiñones creates poetic metaphors that cleverly comment on broader social issues, as well as politics, and universal human desires. In her profound work Los amantes, the humblest of materials, a pair of burning matches, becomes a parable for the sharing, longing, restraint, and death that everyone faces in life.

Film & Video (Film & Video)

Slow Graffiti was produced for Da Corte’s exhibition at the Vienna Secession in 2017. The video is a shot-for-shot remake of the film “The Perfect Human” by Danish filmmaker Jørgen Leth (1967). The original is narrated in an anthropological manner, or as if listening to a guide at a zoo, but Da Corte’s version is stranger and more philosophical.

Photography (Photography)

In the Collage II (Marie) (2013), Shorr seems to have an ostensibly clear subject, a female subject identified in the work’s title as “Marie,” a slim but athletic woman with brown hair pictured reclining atop a brilliantly white sheet draped against a marbled tan-and-white backdrop. Although photographed topless, Marie is depicted in slightly contorted poses that emphasize the curves of her figure while also obstructing the viewer’s gaze. Printed on high gloss paper, Marie’s portrait has the polished veneer of magazine spread, and the two portraits on display offer different vantages of the same subject.