Film & Video (Film & Video)

“Na China” means “In China” in Igbo language. Marie Voignier’s film NA CHINA! focuses on the African women communities who have emigrated to Guangzhou, in the southeast of China.

Film & Video (Film & Video)

Tourisme International was shot as the recording of a show on the scale of a country. In the urgency of perpetual travel, this tourist journey visits monuments, museums, institutions presented by North Korean guides whose voices we do not hear. Marie Voignier entirely redesigned the sound of each sequence in post-synchronization, making only the living experiences of footsteps and rustling of clothes audible, to create a new universe, disconnected from the official discourses.

Drawing & Print (Drawing & Print)

In conjunction with KADIST’s 2017 exhibition If Not Apollo, the Breeze , artist and filmmaker Lynn Marie Kirby performed Transmissions , a video and live reading created with longtime collaborator Etel Adnan. Inspired by time spent together in Paris, the piece incorporated open-ended conversation about the oracle, Mount Tamalpais (a subject of long-standing fascination for Adnan and the subject of hundreds of works), and a suite of collaborative drawings. The drawings, made in India ink and created spontaneously, are remarkable evidence of two lives, minds, and hands in dialogue.

Film & Video (Film & Video)

En rachâchant is based on the short story Ah! Ernesto! (1971) by Marguerite Duras in which the child Ernesto does not want to go to school anymore as all that he is taught are things he does not know.

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.

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.

Photography (Photography)

“Maqe II” is at first glance a romantic image of three diaphanous angels hovering in the luminous sky over a South African township. A closer inspection reveals that the apparition is the appropriated figure of Marie Antoinette from the artist’s Ciao Bella series (2001) with the addition of a butchered cake. The figure is Rose herself dressed in costumed made of trash bags holding a haunting paper mâché mask.

Film & Video (Film & Video)

In 1978, Jean-Luc Godard and Anne-Marie Miéville made the TV series: “France / tour / detour / two / children”, in which they aimed to identify the lifestyle of French people in 12 episodes of 26 minutes each. On each episode a little boy and girl are firstly asked about their daily lives. By broadening the scope of the interview, the questions of Godard and Mieville gradually bring the protagonists to think of themselves as subjects in the history of the world, to “live and see themselves on television” with a critical point of view.

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.

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.