Film & Video (Film & Video)

Rosier’s body of films, gleam with that indeterminate in-between glow of twilight. Things hardly move at all in her films. They are, quite simply, often without plot, without spoken voice and without narrative elements.

Photography (Photography)

Rotation presents the image of a crowd, a re-appropriation of 19th or beginning of 20th century photographs published in newspapers and magazines. This artwork is composed of the same image repeated four times with different resolutions. The last image in Rotation is less focused than the original one.

Film & Video (Film & Video)

In the 2013 video work, Sitting Feeding Sleeping , Rose combines footage taken of zoo animals living in captivity with screen images that flicker and flash before us. In the narration, Rose talks about forms of life that are suspended and simulated—artificial intelligence and cryogenically frozen bodies, zoo animals and counterfeit ecologies. Through this montage of different types of footage and text, Rose poses us between the natural and the artificial, and speaks to the very strange moment of life in a world that is seemingly caught between the two, existing in a hybrid (though not necessarily symbiotic) moment of radical change.

Film & Video (Film & Video)

A minute Ago starts with a hailstorm pelting down unexpectedly on a quiet beach in Siberia. People, half naked, run for cover under towels and parasols, to the music of the Pink Floyd. The next scene is an interview of Philip Johnson, filmed 10 years before in the Glass House he constructed.

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.

Rachel E. Foster uses printmaking, sculpture, and photography to illuminate the nearly invisible. For her source material she combs the digital world for bits of strange information that seep into our daily reality. These clues, be they coded sequences or simple phrases, become part of her puzzle; by reframing information she makes us reconsider it through a different lens.

Sculpture (Sculpture)

First Born by Rachel Rose is part of a series of works titled Borns which expands on the artist’s longstanding interest in the organic shape of eggs. For this sculpture made of rock and glass the artist has created a milky glass-blown shape, almost like fabric in its form, which is draped over a metallic rock in the shape of an egg. For the artist, the egg is an alchemical symbol that is representative of conception and birth.

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.