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artist: Olive Martin and Patrick Bernier



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The New Kahnawake
© » KADIST

Olive Martin and Patrick Bernier

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.

Elevación [Elevation]
© » KADIST

Ana María Millán

Film & Video (Film & Video)

Interested in role-play and videogames, Ana María Millán developed workshops with different communities in order to create characters and scenarios for her animations, often in collaboration with a choreographer. Elevación evokes various narratives inspired by the comicstrip Marquetalia, Raíces de la Resistencia (Marquetalia, Roots of the Resistance) (2011). This comic strip is a memoir of the FARC (Revolutionary Armed Forces of Colombia) guerillas written by Jesús Santrich, one of its leaders who, after the 2016 Peace Agreement, rejoined dissident members of the organization in a clandestine guerrilla splinter group in 2019.

Collaborative Mt. Tamalpais Drawings #1-8
© » KADIST

Etel Adnan and Lynn Marie Kirby

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.

Shisa Dog and Chicken
© » KADIST

João Maria Gusmão and Pedro Paiva

Film & Video (Film & Video)

The artist duo João Maria Gusmão and Pedro Paiva traveled to Japan for a month to make a series of short 16mm films, often shot in slow-motion. This film, shown in continuous loop, has a run-time of just under 3 minutes, and is presented without sound. It captures a traditional Shisa (combination of a dog and lion from Okinawan mythology) animated by an invisible person.

En rachâchant
© » KADIST

Jean-Marie Straub and Danièle Huillet

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.

Work No. 299
© » KADIST

Martin Creed

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.

Minotaur
© » KADIST

Daria Martin

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.

Pay and Display
© » KADIST

Oliver Beer

Film & Video (Film & Video)

Pay and Display is a film of a performance, for which there was no audience, staged in the multistory Pershore Street car park in Birmingham, a brutalist building, arguably one of the most inhospitable environments for a musical performance. Dilapidated and empty, the ghostly presence of the car park comes to life. Beer composed the piece to resonate with this architecture, finding the frequencies that would bring the building to life, acting as a sound box and in effect another voice.

Versions
© » KADIST

Oliver Laric

Film & Video (Film & Video)

Oliver Laric’s video Versions is part of an ongoing body of work that has continued to evolve and mutate over time. Comprised of several video and sculptural works that share the same title, the Versions series reflects Laric’s key concerns: the mutability of images and objects and the negotiation between original and copy. In this video, we see several 3D renders of recognizable objects and places, while an ubiquitous feminized robotic voice that evokes the domestic familiarity of voice recognition tools such as Siri and Alexa, speaks of issues relating to identity, language, and translation.

Tonatiuh (The Son of the Sun)
© » KADIST

Juan Brenner

Photography (Photography)

The photographic series Tonatiuh (The Son of the Sun) by Juan Brenner is an in-depth visual study of current Guatemalan society from the perspective of miscegenation and the incalculable consequences of the Spanish conquest. Establishing Spanish conquistador Pedro de Alvarado as a central figure, not only in the conquest of Guatemala, but also in the formation of a complex, segregated society, Brenner proposes a series of images that re-establish the lens through which to consider both a historical and contemporary Guatemala. Tonatiuh is a visual essay on the state of a country on the verge of failure and its incapacity to address its own history and learn from it.

Cardón Cardinal
© » KADIST

Patricia Esquivias

Film & Video (Film & Video)

Cardón Cardinal by Patricia Esquivias is part of a series of video works in which the artist develops a narrative in front of her computer screen. In this work, the computer sits on a covered piano keyboard, and the reflection of the artist is sometimes visible on the black surface. Cardón Cardinal is a collage of references that revolve around the removal and displacement of a 46 foot tall Pachycereus pringlei , a type of giant cactus also known as a cardón , from Baja California, Mexico to Seville, Spain.

Diálogo [Dialogue]
© » KADIST

Patricia Belli

Installation (Installation)

In the mid-1990s, Belli started to create soft sculptures that allowed her to reconnect with manual labor and sewing learned from her seamstress mother. Using recycled fabrics and objects collected from friends and second-hand stores in Nicaragua, Belli’s work explored the codification of family space—using dolls, tables, tablecloths, and curtains—making tangible how masculine authority is inscribed onto women’s bodies daily. Produced during her time as an MFA student at the San Francisco Art Institute, Diálogo is part of a group of sculptures that addresses the tension between restriction and agency, imprisonment and liberation, and ultimately, the possibilities and limits of human action in a society with deeply eroded democratic structures.

Hearsay of the Soul
© » KADIST

Werner Herzog

Film & Video (Film & Video)

Commissioned for the 2012 Whitney Biennial, Hearsay of the Soul (2012) is Werner Herzog’s ode to the landscape paintings of the 17th-century Dutch artist Hercules Segers. The work is a four-channel digital projection of Segers’s artworks accompanied by the emotive music of the Dutch cellist and composer Ernst Reijseger. Herzog sees Segers’s vast landscapes as powerful representations of our own interior worlds, resounding with feelings of anger, joy, fear, and loneliness.

SHE MAD: Laughing Gas
© » KADIST

Martine Syms

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.

7″ Single 'Pop In'
© » KADIST

Martin Kippenberger

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.

Our love is like the Flowers, the Rain, the Sea and the Hours
© » KADIST

Martin Boyce

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.

Soft Materials
© » KADIST

Daria Martin

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.

Untitled
© » KADIST

Martin Kippenberger

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.

Untitled
© » KADIST

Martin Kippenberger

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.

LIFE #1, a reenactment of a Japanese officer who is about to behead an Australian flier. The Pacific, 1945
© » KADIST

Shay Arick

Film & Video (Film & Video)

Part of a series of videos called LIFE, where Shay Arik videos that re-enact iconic journalistic photographs. As explained by the video’s title, the departure point for LIFE #1 is the iconic 1943 photograph published by Life magazine that captures Japanese officer Yasuno Chikao from the Imperial Japanese Navy as he raises his sword, seconds before publically beheading Australian war commando Leonard Siffleet in the shores of Papua New Guinea. In Arick’s restaging there are no onlookers in the scene, the only two figures represented are Chikao and Siffleet: the perpetrator and victim of this fatal act of violence.

Orión
© » KADIST

Adriana Martínez

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.

Untitled (Head Falling 02)
© » KADIST

Diego Marcon

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.

Monelle
© » KADIST

Diego Marcon

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.

Music Stands: Free Exercise 7, 8, and 9
© » KADIST

Marina Rosenfeld

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.

100 Boots
© » KADIST

Eleanor Antin

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.

Ohne Titel
© » KADIST

Matti Braun

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.

Tourisme International
© » KADIST

Marie Voignier

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.

El territorio no está en venta
© » KADIST

María Buenaventura

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.

Mario Garcia Torres

Marion Scemama, David Wojnarowicz

Marion Scemama is a French photographer and filmmaker...

Martin Kippenberger

Martin Creed

Diego Marcon

Diego Marcon uses film, video and installation to investigate the ontology of the moving image, focusing on the relationship between reality and representation...

Chantal Edie and Zacharie Ngnogue

Chantal Edie and Zacharie Ngnogue are a photography duo who channel their personal experiences into social commentaries...

Daniel Joseph Martinez

Ho Rui An

The artist, writer, and researcher Ho Rui An probes histories of globalization and governance, performing a detournement of dominant semiotic systems across text, film, installation, and lecture...

Leung Chi Wo and Wong Sara

Leung Chi Wo tends to highlight in his art the boundaries between viewing and voyeurism, real and fictional, and art and the everyday...

Maria Taniguchi

Throughout her paintings, sculptures, and videos, Maria Taniguchi unpacks knowledge and experience—connecting material culture, technology, and natural evolution—and investigates space and time, along with social and historical contexts...

Ad Minoliti

Ad Minoliti is a painter who combines the pictorial language of geometric abstraction with the perspective of queer theory...

Daria Martin

A number of Daria Martin’s films explore the relationship between humans and machines and make reference to modernist art, whether through the work of the Bauhuas (Schlemmer), Surrealism (Giacometti’s Palace at 4 AM) or American art of the 1960s and 1970s...

Slavs and Tatars

Self-described as an “Eurasian-based” collective, Slavs and Tatars investigates the “polemics and intimacies” of the region “east of the former Berlin Wall and west of the Great Wall of China” or Caucasia...

An-My LE

Marwan Rechmaoui

Kristen Morgin

Marie Voignier

Marie Voignier’s work presents a subtle criticism of the transitory status of action within the social and political elds...

Mary Ann Aitken

Mary Ann Aitken was known to be very private about her art practice; she was considered somewhat of an outsider by her peers affiliated with the second wave of Detroit’s Cass Corridor arts movement...

John Wood and Paul Harrison

John Wood and Paul Harrison have been working collaboratively since 1993, producing single screen and installation-based video works...

Ana Vaz

Ana Vaz is an artist and filmmaker whose works speculate on the relationships between self and other, and myth and history, through a cosmology of signs, references, and perspectives...

Eleanor Antin

Marlon de Azambuja

Based on ideas of architecture, and by means of appropriation of public space and studio-based material operations, Marlon de Azambuja’s work creates new idioms for thinking and inhabiting the built environment...

Patricia Belli

Since the 1980s, Patricia Belli has been a driving force behind the rise of experimental work in Nicaragua...

Maayan Amir and Ruti Sela

Maayan Amir and Ruti Sela, two young Israeli women artists work collaboratively or individually by project...

Angela Detanico and Rafael Lain

Linguists, semiologists, and graphic designers by training, Angela Detanico and Raphaël Lain consider the use of graphic signs in society...

Martin Boyce

Jane Jin Kaisen and Guston Sondin-Kung

Working with narrative experimental film, multi-channel video installation, performative video art, photography, and text, Jane Jin Kaisen engages themes of memory, trauma, migration and translation at the intersection of personal and collective histories...

Musquiqui Chihying and Gregor Kasper

Through his artistic career, Musquiqui Chihying has striven to dislocate and reconstruct established modes of behavior within systems and structures of power...

Oliver Beer

The work of Oliver Beer explores the resonances in buildings and objects, exploiting the occurrence of natural frequencies that turn buildings and objects not only into amplifiers but musical instruments...

Martin Creed
© » TATE EXHIBITIONS

about 4 months ago (01/06/2024)

Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...

An-My LE
© » APERTURE

about 5 months ago (12/01/2023)

For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....

Diego Marcon
© » CONTEMPORARYARTDAILY

about 5 months ago (11/30/2023)

Diego Marcon at Galerie Buchholz...

Slavs and Tatars
© » CONTEMPORARYARTDAILY

about 5 months ago (11/29/2023)

September 22 – December 15, 2023...