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.

Drawing & Print (Drawing & Print)

Now; 1992 is Ali Yass’s attempt to remake his childhood drawings, which were lost after he was forced to leave Iraq following the 2003 US occupation. The drawings are chimeric compositions of animated limbs, animal, human, and machine, that seem to hurl in all directions and mediums, unified as colorful figurations posed against blank backgrounds, rendering the curious characters suspended in time. This suspension materializes the artist’s view on violence and temporality, on which he has claimed: “I will not talk about war because it is from the past.

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.

Film & Video (Film & Video)

In 2009, Laura Henno began research in the archipelago Comoros for her first film Koropa the first episode of a triptych— completed in 2016. Mayotte is the only remaining island belonging to France in the archipelago of the Comoros, which gained independence in 1975, creating an invisible border that divides the islands from Europe. Koropa is the portrait of a particular relationship: that of Ben, a former fisherman turned smuggler, and Patron, a child who makes his first smuggling voyage between the island of Anjouan and Mayotte.

Film & Video (Film & Video)

Steak House is a video representing two small puppets smearing the artist’s face with paint while he is sleeping. The work is based on modest means and reuses the classic theme of inanimate objects coming to life during the night while humans sleep. Is this the artist’s return to repressed feelings or fatigue provoked by the task?

Photography (Photography)

“While taking the picture it was challenging to make the boys sit properly without moving. Sometimes a member of the family whould hide behind, holding the child.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Film & Video (Film & Video)

Tropical Siesta begins in a rural landscape of Vietnam. Very quickly, painted images of students sleeping on their school benches appear. A text speaking of how the communist regime has placed agriculture at the center of its economy reads alongside the images.

Installation (Installation)

Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube. The work refers to the positive occupations of space and the absence of form and structure, to the relationship between the visible and the invisible, to memory, and to the relationship we have to images and to our history. The work refers to childhood, biography and learning to question how meaning is made and how history is remembered and performed.

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)

Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood. In this image, drafting materials (pencils, compasses, and protractors) are laid out next to shotgun shell casings. Presenting these objects in juxtaposition but without commentary, Houck offers a partial but interesting glimpse into his own biography.

Film & Video (Film & Video)

Binelde Hyrcan’s video “Cambeck” is a playful study of four boys on a beach in Angola playing in a chauffeured car made of sand. Weaved through the seemingly naïve game are themes of poverty, migration and inequality. Speaking of ‘the good life’ in the United States of America, the young boys discuss separated families as a result of migration, unemployment and education, poverty, the dream of leaving the slum for a building with walls made not of tin, and the luxury of the accessibility of transport.

Photography (Photography)

Baby Shoes, Never Worn is part of photographer John Houck’s series of restrained still-life photographs capturing objects from his childhood. The image depicts a box, addressed to the artist’s mother, that once contained—it can be assumed—baby shoes. Houck layers the photograph with multiple exposures, lending an uneasy tripling effect to the static object.

Photography (Photography)

La Chambre Marocaine series is a means to reconnect personally to his connection to family history and objectively assess the process of reconnection. By creating this work in the Villa Medici in Rome, the neutral space—neither France nor Morocco—allowed the artist to distance himself with his history in the examination process. The series looks at Morocco through the eyes of his children and object belonging to his grandmother: a scarf, a cushion and a book in Arabic.

Photography (Photography)

John Houck’s multi-layered photographic compositions immortalize nostalgic objects from the artist’s childhood, manipulated in the studio and in post-production into unreal still-life arrangements. Stamp -X, Stamp -Y consists of a careful collage of uneven scraps of paper. On their versos, these fragments of blue, white, and manila papers hold the artist’s childhood stamp collection; turned as they are, these shards of envelope become planes of colors that Houck manipulates in a vaguely grid-like fashion.

Photography (Photography)

A young settler girl, dressed in a bridal outfit for Purim, stands in a street in Hebron waiting, perhaps for her parents or other children to join her. In the background three soldiers scan the buildings and the rooftops for threatening presences. Turning her back to the soldiers, the little girl pays no attention to what surrounds her.

Photography (Photography)

Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light. The architect’s longtime studio and residence, which he built in Los Angeles in 1922, exemplifies this philosophy, and has since become an influential part of the modernist architectural canon. In Untitled (Schindler House #01) (2007), Luisa Lambri describes Schindler’s studio by capturing its aftereffects—the play of light and shadow cast through branches onto a surface.

Photography (Photography)

Capture is a photographic series by Paolo Cirio in which the artist sourced 1000 public images of police officers’ faces and processed them with facial recognition technology. The original photographs were taken during protests in France, Cirio collected these images and created an online platform containing a database of the 4000 police faces that the AI program isolated. The artist crowdsourced their identification by name and then publicly exposed the officers by printing their headshots and posting them throughout Paris.

Drawing & Print (Drawing & Print)

Sung Hwan Kim created the drawing push against the air 01 during a rehearsal for his eponymous 2007 performance at De Apple (as part of Prix de Rome), Amsterdam, and Project Arts Centre, Dublin. For the performance, Kim interviews his frequent collaborator David Michael DiGregorio and a fellow musician, Byungjun Kwon, about love songs they have composed. The performance appears spontaneous and creates a space of vulnerability and intimacy, however in reality, the three rehearsed the performance numerous times and performed it in numerous cities.

Installation (Installation)

“On April 13 a painting was lost at JFK airport while going through the security screening. On April 19 a painting was lost at CDG airport while going through the security screening. On April 20 a painting was lost at DUB airport while going through the security screening.

Film & Video (Film & Video)

Lightning 01 (2014) parodies our contemporary relationship to screen-based media and the absurdity of aestheticizing boredom. The video depicts a computer user aimlessly taking photos of himself, seemingly numb to external stimuli or intervention. Set on a loop, the video produces the illusion of an endless state of bored selfies and disaffected gazes.

Photography (Photography)

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns.

Photography (Photography)

Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon. Designed by the architect Richard Neutra, its gray glass, white expanses, and simple forms exude austerity. Luisa Lambri’s photograph Untitled (Sten-Frenke House #04) (2007)recalls the unembellished elegance of the structure while also alluding to modernist painting; the image is less a picture than an abstract expanse that conveys its own flatness.