Drawing & Print (Drawing & Print)

Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions. Displayed alongside the official marketing materials of biennials (Shanghai, Berlin, Venice, etc.) Xu’s works provide a satiric and provocative alternative to the official system and make publicly visible images of many realities.

Installation (Installation)

Third Realm (2011) grew out of the artist’s long-term research of Indonesia’s colonial history and the processes of modernization and urbanization that have taken place there. Kuswidananto describes the nation as perpetually in an “in-between” state of transition. Thus he has developed the concept of a third reality, third space, or third body—an identity specifically for Indonesia that reflects its spatial realities and national character.

Drawing & Print (Drawing & Print)

Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions. Displayed alongside the marketing posters of official biennials (Shanghai, Berlin, Venice, etc.) Displayed alongside the official marketing materials of biennials (Shanghai, Berlin, Venice, etc.)

Film & Video (Film & Video)

Images is a two channel video work addressing the relationship between art and ritual. On the left side, the artist is filmed in a sparse, red room with his tongue nailed onto a red table. With Lim’s freedom of movement and speech limited, the viewer focuses on the facial expressions of the artist as different streams of thoughts and realizations enter his mind.

Installation (Installation)

Peasant Sensation Passing Through Flesh – 3 consists of a massage chair fixed to a wall. With its cushions removed to reveal its internal mechanisms, the chair’s programmed rubbing, kneading, patting, and vibrating motions create a strange sight and soundscape. The work explores the relationship between flesh and machine as they come together through technologically simulated social behaviors, challenging normative ideas about human interaction.

Sculpture (Sculpture)

Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s. Resembling a black-mirrored box, this recent iridescent piece produces an uncanny effect in which the interior planes seem to enclose a mysterious light. Although austere in form, Bell’s works are far from simple: he uses technology like a vacuum-coating process, to accurately control the different levels of opacity and transparency on the surface of his immaculate glass works.

Drawing & Print (Drawing & Print)

Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight. The blocks resemble a stone carving, or slabs of wood shaped into a simple organic composition whose overall sheen is varied through a thin layer of aluminum vapor. Yet, the real material of Bell’s piece is actually light, formed within the viewer’s eye into masses as present as stone.

Film & Video (Film & Video)

Turtle Walk is a video installation that documents two performers carrying large white disks on their backs as they walk through the urban environment of Seoul. The simple disks disrupt normal social behaviors in urban space, acting like parabolic antennae that cause the performers to interact and communicate unusually with their surroundings. The performance causes viewers to reflect on their expectations for normal behaviors within the social space of the city.

Film & Video (Film & Video)

Elizabeth McAlpine’s work frequently deals with time based issues as well as the experience of watching. In The Height of the Campanile , McAlpine has calculated the height of the tower and timed her shooting of it so that the length of the film in meters is exactly that of the height of the tower. Thus the time it takes to view the film, and the pace at which the camera pans up the tower are equivalent to the height of the tower.

Film & Video (Film & Video)

Shot on 35mm in two simply framed shots, Jazmín López’s Juego Vivo captures children at play, mixing imagination, reality, innocence, and violence. Set within a lush, green forest, we see first several children come into the frame, walking towards us, as a disembodied voice counts off “Tres…cuatro…cinco…” A game of hide and seek is at hand, and sounds of the girl counting are met with scattering children. In the first shot, while everyone else disperses, one boy advances steadily toward the camera, holding a scavenged stick in his hands, wielding it like a gun.

Photography (Photography)

The Last Riot was originally created for Venice Biennale in 2007. In reference to Baroque Painting tradition and Chiaroscuro, this video installation imagines a dystopian virtual world where bodies removed from conscience and emotion exist weightlessly in a cyber paradigm. Light, shadow and digital manipulation slate a post-apocalyptic world where young teens enact conflict as ritual.

Installation (Installation)

Carlton Hotel project is the second part of a research on the Carlton, an iconic building of modernist architecture from the 1960s in Beirut. Designed by Polish architect Karol Shayer, it was destroyed in 2008 (date of the project’s creation). This project is multifaceted, always transforming into different forms and involving a series of collaborations: the first step took place as part of the “traveling curtains project”, which consisted in recuperating the curtains from the Carlton hotel before its demolition and sending them to different cities throughout the world where they would be subject to new interventions and transformations by artists, among whom Marwa Arsanios.

Film & Video (Film & Video)

I’ve heard stories (2008) is one of Marwa Arsanios early works. It is a short animated film staging a story that took place at the Carlton hotel in Beirut. This work is the first part of a longer project on this iconic building.

Photography (Photography)

Materia en Reposo II (Brasil)

Film & Video (Film & Video)

The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind. In the video, eight protagonists act out their daily lives. The setting is a soon-to-be-demolished public housing facility in Singapore, a country in transition from a mindset of Eastern collectivism to global neoliberalism.

Sculpture (Sculpture)

Defunct Mnemonics (2012) plays off woodworking traditions found in indigenous art in order to create a body of formally minimal objects that are both beautiful in their restraint and profoundly moving in their associations with the totemic. Resembling large pick-up-sticks, the complete work is comprised of 126 vertical sculptures wrapped in fabric with alternately monochromatic and graphically patterned dyes and prints. Leaning against a wall and arranged side-by-side, they could be mistaken as highly decorated mallets for use in an undetermined ritual or game.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

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.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

Film & Video (Film & Video)

Ghost Games , follows the enigmatic dance of crabs “steered” by a flashlight in the night of darkness of a South American beach. The video produces a surreal impression, typical of Sala’s work, with no plot in the classical sense, no story being told. Like in Blindfold (2002), in which a sunrise is reflected in urban billboards, and Time After Time (2001), in which the figure of a horse emerges from darkness lit by the headlights of an automobile, Sala likes to explore the phenomenon of light and its effects; In Ghost Games , he uses the threatening reflection of the flash light through the darkness of the beach.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

Film & Video (Film & Video)

This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013. These videos show several participants from different backgrounds gathering to create and object or an action. For this video, he brought together five Japanese poets from different movements and styles.

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. Against authorship and the commodification of art, he never gives titles or dates to his works which have infinite edition possibilities. This mise en scène of found kitchenware also exists with a rounder and flatter plain modern white porcelain teapot.

Film & Video (Film & Video)

For her work in Sharjah Biennial 14, Alia Farid traveled from the United Arab Emirates to Iran across the Strait of Hormuz to film the longest day of the summer. On Qeshm Island, where her film is set, the summer solstice is referred to as Nowruz Al Sayadeen (Farsi for “fishermen’s new year”). The work foregrounds a number of local residents whose performances draw attention to their material surroundings and natural environment–– from a brightly decorated domestic interior to an expansive sea view overlooking the Arabian Gulf.