Drawing & Print (Drawing & Print)

Forking Sprawl

Painting (Painting)

Wonocolo by Maryanto is part of a body of research and work that has been investigating the mining realities of Indonesia and Nigeria since 2015. This acrylic painting refers to ‘Texas’ Wonocolo in Bojonegoro, a traditional oil mine in East Java. Initially built by the Dutch and abandoned during Japanese occupation, it was revived under Indonesia’s independence (1949) and is now a controversial issue between local sovereign right and environmental concern.

Drawing & Print (Drawing & Print)

This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances. These took place between 1972-74 in the UK at the Museum of Modern Art in Oxford, Colchester School of Art, in Reading and in North Weald as well as in Sweden at Fylkingen Society of Contemporary Music and Arts, Stockholm, and in the USA at the William Patterson University, Wayne, New Jersey. Many of these events were photographed by David Kilburn and Carolee Schneemann, only one in 1972 was filmed.

Film & Video (Film & Video)

COVID-19 May 2020 by Hikaru Fujii was filmed during the first months of the Covid-19 pandemic. For this work Fujii filmed the group exhibition Things Entangling, the final phase of a collaboration between KADIST and the Museum of Contemporary Art, Tokyo. At the time that the first Covid-19 lockdowns were instated in Japan, the exhibition was fully installed, but it was not accessible to the public for an indeterminate duration.

Installation (Installation)

The neon sign Walk the Walk (Sam Durant) overlays a Walk/Don’t Walk Sign crosswalk sign onto the text “You Are On Indian Land Show Some Respect.” The sign asks viewers to not walk on Indigenous lands without respecting it, and, switching between a walking person icon in white and a raised hand icon in red, redirects their actions. This work by Native Art Department International signals a reminder that we–the audience and institution–are located on and occupy traditional territories. The work appropriates and twists white artist Sam Durant’s You Are On Indian Land Show Some Respect (2008) in response to his work Scaffold (2012) installed in 2016-7 at the Walker Art Center in Minneapolis.

Film & Video (Film & Video)

Indigenous educator and curator Sandra Benites, of the Guarani-Ñandeva people, narrates the origin myth of the bird Urutau in her native language. This nightjar stands still on a branch all day long and, at dusk, cries a low hoot resembling a human weeping. In 2013, indigenous activist José Urutau Guajajara remained on the top of a tree for 26 hours, deprived of food and water by state forces.

Installation (Installation)

The series Belle Époque of the Tropics by Noara Quintana has as its background the history of the rubber industrialization in North of Brazil. The so-called Amazon Rubber Boom, 1879 to 1912, was an important part of the economic and social history of the country and Amazonian regions of neighboring countries, related to the extraction and commercialization of latex. Centered in the Amazon river basin, the boom resulted in a large expansion of European colonization in the area, causing cultural and social transformations that wreaked havoc upon Indigenous societies and immense environmental damage.

Drawing & Print (Drawing & Print)

Art of War 1, City in Broad Daylight, Leaving the House, Justice is a Virtue, and Lions are Stronger than Men are linocut prints from the series Sultana’s Dream . This series by artist Chitra Ganesh comprises a large-scale narrative suite inspired by a 1905 feminist utopian (eponymous) text written by a Bengali writer and social reformer, Rokeya Sakhhawat Hossain. Educated thanks to the support of her elite family, Hossain was one of the few Bengali women of her generation writing in English.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

NFT (NFT)

Indiscreet Units by Harm van den Dorpel is a group of more than 266 hue-rotating flags, stored on the Ethereum blockchain and IPFS. This is a project about the indeterminacy of color, and that variability as a metaphor for larger social and political forces. Each NFT in the series is the official flag design for nations (and related entities) around the world.

Film & Video (Film & Video)

Like many Asian countries, Vietnam has lost an immense amount of natural environment and rural landscape to economic growth and industrial development. The single-channel video Waltz of the Machine Equestrians is a response to the overwhelming number of motorbikes and scooters overtaking the streets of Vietnam as small agrarian communities have been displaced by the construction of skyscrapers. The video shows 28 “equestrians” on motorbikes and scooters arrayed into a rainbow cavalcade held together by strings clipped onto brightly colored ponchos.

Installation (Installation)

Canción para un fósil canoro (Song for a chanting fossil) by Rometti Costales is inspired by the history of the building that currently hosts the Museo de la Solidaridad Salvador Allende (MSSA) in Santiago, Chile. The duo associated the layers of the building’s history with the vestiges of life and the processes of fossilization that have taken place in areas of the Atacama Desert, a territory that has been the stage for several episodes in Chile’s tumultuous economic and political history. The work operates as a metaphor for the strata of historical memory, condensing different materials and operations.

Film & Video (Film & Video)

The absurd condition of human survival under environmental degradation and geonational balkanization is taken as a starting point for WA’AD by YOUNG-HAE CHANG HEAVY INDUSTRIES. The work’s premise is a confessional narrative emerging from a Palestinian astronaut on a desperate international flight mission to colonize Mars. That there is also an Israeli astronaut on the same mission plays into the complexities of the landed history of ethnic antagonism between Israel and Palestine, which has stretched on for centuries.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Photography (Photography)

The photographic series Wrapped Future II by Lim Sokchanlina brings fences used on construction sites to enclose the surrounding areas, to different locations, lakes, valleys and forests; and places them at the center of works to obscure the beautiful Cambodian landscape. The inharmonious landscape is gradually captivated by the exquisite balance between inorganic material and mystical background. The photos were taken in places that in recent years have become targets of large-scale exploitation under a massive globalization of capital and other political interests.

Drawing & Print (Drawing & Print)

Laís Amaral abstract paintings dialogue with the feminine power. Just like the flow of a river, Laís produces her paintings as a flux that emerges from within, an inner force that relates to all the women in her life, family, and ones who know the medicinal powers of nature; who are part of this feminine force latent in the earth. In order to discover elements about herself, Laís Amaral understands painting as a gesture of leakage.

Drawing & Print (Drawing & Print)

Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval. Untitled (Set of Six Drawings) (2012) is an intricate watercolor of a child sitting cross-legged with its head stuck inside a giant mask resembling a duck head covered with eyes. It looks like a scene snatched from science fiction or a surreal dream; it is tempting to see in it some kind of warning sign, or an ominous vision of the future.

Sculpture (Sculpture)

Yo Daham has been knitting, which he initially took up as a daily pastime, to produce objects that function as an incense burner by releasing smoke. His questioning of the nature of matter led to this unusual combination of knitting (typically considered a form of two-dimensional weaving) and an incense burner (an object traditionally used in rituals). Knitting is an act that requires unwinding a spool infinitely wrapped with thread and determining the form by applying force and pressure.

Sculpture (Sculpture)

In Erin Jane Nelson’s 2019 body of work Av, panels are covered in collaged images and shellacked with resin or epoxy: photographs of plants intermingle with pictures of men and women engaging in various spiritual activities, cartoons of mothers and their children, or black and white images of window panes. The panels and ceramics act as backdrops upon which Nelson attempts to establish connections between the natural world and the various cultural and religious orders we impose upon it. She incorporates Jewish symbolism and archival photographs alongside her ongoing photographic practice documenting the environmental collapse of her home region.

Painting (Painting)

Adjamé, Charbon reflects on both global environmental discourses and domestic impacts of the use and trade of coal. Adjamé is one of ten urban communes of the city of Abidjan, the economic capital and city with the largest French-speaking populous in the Côte d’Ivoire. Employing vibrant colors to contrast the plastic jerrycans, children toys and clothing strewn randomly throughout the shanty settlement with the darkness of coal is a challenging articulation of the image of progress and its environmental consequences today.

Film & Video (Film & Video)

Ecotone by Enar de Dios Rodríguez is a video work presented in six chapters, each beginning and ending with a one-sided telephone dialog with an informal, friendly and conversational tone, that leads quickly into complex philosophical subjects. The first chapter is an introduction, and the last is an epilogue, and both employ interfaces (a smartphone screen, and an optical illusion, respectively) to invite the viewer to make conceptual connections across the chapters. An “ecotone” is a region of transition between two biological communities.

The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies). They are studies for two large sculptures that explore the role of monuments and emblems in the configuration of Latin American national identities. The first drawing reproduces an equestrian statue of Juan Lavalle, one of Argentina’s independence heroes.

Film & Video (Film & Video)

The Crime of Art is an animation by Kota Ezawa that appropriates scenes from various popular Hollywood films featuring the theft of artworks: a Monet painting in The Thomas Crown Affair (1999), a Rembrandt in Entrapment (1999), a Cellini in How to Steal a Million (1966), and an emerald encrusted dagger in Topkapi (1964). Ezawa uses his signature cartoon-like style to remix and reenact these crime scenes, leaving only the artworks as “real” objects (as they are depicted in the films), rather than illustrating them. Reversing fiction and reality in an unexpected way, this gesture invites the viewer to question the reliability of the visual footage.

Film & Video (Film & Video)

The video Rubber Man continues exploring issues related to land use, also noticeable in his Untitled series (2011). More specifically, Rubber Man addresses the French colonial legacy of land use for the exploitation of rubber –today exploited by multiple forces such as individuals, governments, multinationals and international banks– and its effects on Cambodia’s indigenous forests and culture today. The video takes place in Ratanakiri, an area in northeastern Cambodia increasingly known in local and international news for land grabs and protests, and where the artist frequently traveled to over two years.