Drawing & Print (Drawing & Print)

7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve. In the foreground of the album’s cover, a drawing of an empty, round vessel is framed underneath the text “POP IN”, suggesting an invitation to listen to the record, a nod to pop music, or perhaps a literal proposal to enter the vessel or the work. In the background, partly hidden by the round form, Kippenberger’s hand-drawn self portrait glares back at the viewer.

Installation (Installation)

Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings. Untitled is a collage on paper work by Kippenberger that typifies his everything-goes approach: a barely discernible, sliced image of Michael Jackson’s face is overlaid and woven with strips and triangular shapes from a different source into a single composition. Blue tones come from torn out pages of a book where fragments of illustrations can be seen.

Drawing & Print (Drawing & Print)

Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany. Text cut out from a Newspaper spells out in German “Egg hunting in the Bavarian forest” and an additional piece of text reads in all capitals “BIN DABEI DU AUCH” (“I’m here too” in English). Together, all the messages and geographies from the separate elements suggest an alternative, highly stylized portrait of the artist; in this case, a fragmented, fluid, and itinerant sense of identity.

Photography (Photography)

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005. His broad smile, on the verge of laughter, encourages reciprocity on behalf of the onlooker. This could be said to be a typical tactic in Creed’s work as it is so infused with humor and irony.

Film & Video (Film & Video)

In keeping with her mythological proclivity, Minotaur (2009) casts a new light on an old narrative. The film takes the ancient Greek story of the half-man, half-bull as its title subject, but at its core, Minotaur is an homage to pioneering modern dancer and choreographer, Anna Halprin. Along with Trisha Brown, Simone Forti, and Yvonne Rainer, Halprin’s fearless and lifelong dance practice paved the way for the evolution of modern and contemporary dance as we understand it today.

Installation (Installation)

In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space. The trees, unique sources of light in the exhibition space, produce their own environment. These sculptures, as if extracted from a set, are enough to suggest an atmosphere, a landscape, or a movie.

Film & Video (Film & Video)

Soft Materials is a curious, touching but also disturbing sequence of confrontations between two people: a man and a woman, and machines. Shot in the Artificial Intelligence Laboratory at the University of Zurich, the humans and the machines mirror each other’s actions. It is unclear which party takes the lead.

Installation (Installation)

Work n. 335: THINGS

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.

Painting (Painting)

Untitled (violet)

Sculpture (Sculpture)

Her 2015 work Orión is a black flag-like cloth with glow-in-the-dark symbols embroidered in the shape of the constellation. In the place of stars, Martínez has substituted the logos of international corporations and entities that use stars as their symbol; celestial navigation commanded by the logic of international corporations. Easily spotted is the smiling face of the Carl’s Jr. / Hardee’s logo, the three-pronged Mercedes-Benz emblem, Walmart’s six-pointed asterisk, and the starry cluster of the Subaru shield.

Film & Video (Film & Video)

The video animation Falling Head 2 , hand-painted by Diego Marcon in 2015, consists of a close-up of a head caught on the threshold between sleep and wakefulness or maybe from wakefulness to sleep. The film is projected as a ten-second loop where the first and last frames coincide. Working mainly in video and film, Marcon is familiar with the consequences of eyestrain.

Film & Video (Film & Video)

Monelle by Diego Marcon was filmed at night inside the infamous Casa del Fascio, the headquarters of the local Fascist Party in Como Italy, designed by Giuseppe Terragni under Mussolini’s rule. The building is immersed in darkness and it is initially difficult to recognize the iconic rationalist architecture, flashes of light illuminate languid adolescent girls sleeping amidst the space for just a few seconds at a time. Next to the bodies, strange humanoids are lurking, they are CGI-generated, but the human eye does not have enough time to register their artificiality, they materialize and disappear in a flash like ghosts.

Installation (Installation)

The installation Music Stands: Free Exercise 7, 8, and 9 by Marina Rosenfeld consists of music stand-like structures and a corresponding set of panels and acoustic devices that direct, focus, obstruct, reflect and project sound in the gallery. Together the components play on the connection between aural and social relations signified by the music stands. An episodic score emanates from the work’s sound system, momentarily interrupting the atmosphere with brief eruptions of electronic sounds and vocality.

Film & Video (Film & Video)

The Mohawk, the emblematic Frontier river in the period of American colonisation, is here a cable of data transmission, and the 7 Sultans Casino is a virtual destination, one of the three hundred online casinos hosted by the servers located in Kahnawake, a small native american indian reserve to the south of Montreal. Incorporating poker, challenges to the law, a struggle for the control of a new territory where the stakes are high, our film ‘La Nouvelle Kahnawake’, between fiction and documentary, pushes these analogies with the Western to explore both our relationship to the figure of the ‘Indian’ and the confusion of our perception of space that new information technology has brought about. As the artists state: “We are neither anthropologists nor journalists.

Drawing & Print (Drawing & Print)

Throughout his career, Marwan Rechmaoui has maintained a drawing practice. During the Covid-19 pandemic lockdowns the artist spent his evenings recording thoughts and imagery on paper, inspired by events happening around him, music, his garden, and the news. These drawings are contemporaneous in their concerns and are indexical of a destitute time and space in the aesthetics they conjure.

Sculpture (Sculpture)

Donald of Doom Tank (2008) is a replica of a vintage metal toy with Donald Duck’s image one side and a soldier on the other. During World War II, the Walt Disney Company produced series of cartoon shorts that featured Donald Duck’s nightmare of working in an inhumane artillery factory in Nazi Germany and serving in the U. S. Army. By animating and normalizing war and military life, these cartoons not only achieved widespread popularity, but functioned as government propaganda.

Sculpture (Sculpture)

Jeep Comics is based on the second of only two issues published by RB Leffingwell and Company in 1944–45. Though largely unknown, their protagonists, Jeep and Peep, embody the ethos of “Golden Age” comic books in which magically empowered heroes triumph over evils to boost patriotic enthusiasm.

Performance (Performance)

In Habito/Habitante , the suspended material renders the wall a prison and the participant a prisoner. The liberating impulsion releases the participant. The act of freeing oneself, of flying, and escaping from constraints is an action that is both extremely symbolically and physically significant.

Painting (Painting)

As he investigates the forms that slavery took through different events that occurred during the sixteenth century in the Huasteca region of Mexico, Noé Martínez tells, in a non-linear narrative, the history of human trafficking in Relación de tráfico de personas 1525-1533 I (Study of Trafficking of Persons 1525–1533 I) . Both the departure of Huasteco Indians from the Americas, and the arrival of Africans from Cape Verde, Angola, Congo and Mozambique unravel in Martinez work as a story that has remained sealed in the colonial archives, and that continues under different guises in contemporary times. Relación de tráfico de personas 1525-1533 I is part of a series made of interventions in tanned leathers that refer to the exchange of human beings for pack animals and cattle in the Caribbean Sea.

Sculpture (Sculpture)

Her work Al final del arcoiris (At the end of the rainbow, 2015) is a bundle of bills from Chile, Venezuela, Brazil, Colombia, Nicaragua, and Costa Rica, arranged by color to form a tight spiraling rainbow held close with a rubber band. Here, Martinez uses these various currencies to gesture towards questions of capital and value, the accumulation of wealth, and regional economies. Beneath the surface of her playful visual propositions, Martinez asks us to consider not only the monetary costs of international goods, but also the real, human consequences of a global economic culture that privileges some and devastates others.

Film & Video (Film & Video)

Martha Colburn’s film, Western Wild … or How I Found Wanderlust and Met Old Shatterhand , about the famed German author Karl May weaves together a mixture of stop motion animation, travelogue and biography that generates a kind of sensory wanderlust. Conflating past and present, the film investigates issues of identity and representation, as well as violence and war. The artist considers imagination as an invitation to dream, in order to disrupt the limitations of the everyday context and widen her viewers’ horizons.

Drawing & Print (Drawing & Print)

Throughout his career, Marwan Rechmaoui has maintained a drawing practice. During the Covid-19 pandemic lockdowns the artist spent his evenings recording thoughts and imagery on paper, inspired by events happening around him, music, his garden, and the news. These drawings are contemporaneous in their concerns and are indexical of a destitute time and space in the aesthetics they conjure.

Photography (Photography)

Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City. Over two-and-a-half years, Antin photographed the boots against different backdrops across the U. S., and then turned the pictures into postcards, which she then mailed to approximately 1,000 people around the world. In conjunction with the boots’ “arrival” in New York City, the postcards were exhibited at the Museum of Modern Art.

Painting (Painting)

During a residency in 2009 at L’appartement 22 in Rabat, the artist traveled in Morocco and Senegal on the traces of the German sculptor Arno Breker. On this occasion he learned about batik, a fabric printing technique which originates not only from Indonesia but also from Senegal. It is also widespread in Africa.

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.

Sculpture (Sculpture)

The Territory is not for sale is a process of reflection and research with people, thinkers and community leaders from Usme, a rural part of Bogotá on the tenuous verge of becoming urban. As an art object and installation, it comprises multiple stacks of paper each containing the decrees of land expropriation from many different peasant farmers who are being forced to sell their lots of land back to the government. Usme lies at the southern urban-rural border strategically located next to the Páramo de Sumapaz, an enormous neo-tropical tundra ecosystem and water reserve.

Film & Video (Film & Video)

Untitled (Celestial Motors) is a visual meditation on an icon of modern urban Philippine life—the jeepney. This ubiquitous form of public transportation, originally built from U. S. military jeeps left on the islands after World War II, is normally exuberantly painted and personalized. They are known for their crowded seating and kitsch decorations, which have become an omnipresent symbol of Philippine culture.

Drawing & Print (Drawing & Print)

The drawing “Heidegger’s Cabin” (2005) is inspired by Martin Heidegger’s essay, “The Origin of the Work of Art.” During the artist’s stay in a high alpine area, near a lake reservoir, Bussmann related the landscape in her surroundings to her reading of Heidegger’s terms on the work of art and the meaning of a “thing.” In attempt to link spiritual heights to natural heights, Bussmann metaphorically relates the subjects of being and truth to a hiking path, and its different degrees of challenge and risk. In the drawings rather than finding the optimal path to reach ultimate meaning and materialization, Bussmann never arrives at “Heidegger’s Cabin,” and instead is led off the beaten track to areas she never discovered before. Upon her return from the mountains in 2004 and 2005, she continued to develop the series, leading up to 20 drawings on handmade paper that attempt to problematize Heidegger’s theory on artworks as “things” as bearers of traits, “things” confronting the world of perception, and “things” as formed matter.

Painting (Painting)

Maria Taniguchi works across several media but is principally known for her long-running series of quasi-abstract paintings featuring a stylized brick wall device. Full of subtle gradations and low-key modulations, these are her trademark: a sustained, reiterative practice, steeped in repetition but carefully attuned to the economies and the sculptural presence of painting. Her approach to painting is conceptual.