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.

Film & Video (Film & Video)

Dreaming of the dream of the dream is a 16mm projection consisting of images of waves that come and go continuously. The artist has assembled extracts of cartoons in which water is visible (the sea, bubbles, a stream, waves, etc.). Somewhat nostalgic, these extracts can recall either childhood cartoons or paintings by Hokusai.

Film & Video (Film & Video)

The theme of the end of the world, of the last man on earth, recurs in our literary and cinematographic culture and in our imaginary: “we had this dream before, the dream that we’re alone.” In The Secret Life of Things , the narrator presents himself as an enthusiast and expert on films announcing the end of the world and those staging someone waking up to discover that they are the only survivor on earth. Like in some works by Mario Garcia Torres (like The Transparencies of the Non-Act , a slide projection about the artist Oscar Neuestern, Kadist Collection), the artist lends his discourse to a stranger. Mastering the montage, he intersperses a monologue and images.

Painting (Painting)

Ventana indiscreta (Rear Window) by Karen Lamassonne takes its title from Hitchcock’s renowned 1954 classic. The painting is part of Lamassinne’s Homenaje a Cali [Homage to Cali] series, developed by the artist in 1989 in a nostalgic attempt to immortalize Cali at a time in which violence from drug trafficking had rendered it unlivable, and the generation that Lamassone had lived it up with had all but dispersed. Lamassone had formally established in Cali around the middle of the decade at a time in which the hangover from the 1971 Pan-American Games and an artistic effervescence had transformed it from a provincial sleepy town into a newly discovered urban (and sexual) labyrinth, one that was fit for the artist’s own explorations around its representation.

Sculpture (Sculpture)

Victory at Sea is a simple mechanism made from cardboard and found materials that mimics the Phenakistoscope, an early cinematic apparatus. The piece requires the viewer to turn a wheel and look through a small hole in order to see a briefly animated succession of small drawings of sailors.

Drawing & Print (Drawing & Print)

The title Untitled Passport II was first used by Felix Gonzalez-Torres in an unlimited edition of small booklets, each containing sequenced photographs of a soaring bird against an open sky. Stacked in the shape of a cube and available for visitors to take away, the passports did not offer citizenship, but rather invited participation in a sense of borderless “being.” Colter Jacobsen’s Untitled (Untitled Passport II) is a diptych showing two-page spreads from Gonzalez-Torres’s booklet. The perfect graphite renderings freeze the book with its pages splayed, wings perpetually open.

Film & Video (Film & Video)

The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year. This piece, which was initially screened in independent film contexts, it soon began to be shown at art museums and ended up becoming one of the key works of the artistic movement that opened up the visual arts towards cinema. With a duration of 30 minutes, the film shows the creation of a white curve being projected onto an empty space.

Film & Video (Film & Video)

Making Chinatown (2012) is a remake of Roman Polanski’s 1974 classic neo-noir film Chinatown . According to Wong, the latter is a “textbook” of Hollywood filmmaking . In Ming’s version, he plays all four main characters portrayed originally by Jack Nicholson, Faye Dunaway, John Huston, and Belinda Palmer, shooting against a backdrop of a film set reproduced as wallpaper in a gallery space.

Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless). The work uses collage techniques—it is stapled down and has a thick strip of contact sheet paper taped over it—that convert the media coverage on Godard’s film into a filmic object itself. The black paper enacts a kind of cinematic “jump cut” on the article, while simultaneously drawing attention to the medium of the film, as well as the photograph reproduced in this newspaper article.

Film & Video (Film & Video)

Sara Eliassen’s video work A Blank Slate (2014) employs cinematic effect to investigate the relationships between subjectivity, gaze, and memory. Set in a sleepy and unidentified coastal town, the film begins as the protagonist unexpectedly finds herself inside a hotel room in a lucid state. Attempting to grasp her surroundings, she falls into a deeper metaphysical reality where her memories blur with her awareness of her surroundings until she finds herself again alone in a dream-like state.

Film & Video (Film & Video)

The video Make down is a 34 minute sequence shot that shows the artist removing make-up in front of a mirror. The peculiarity of the scene consists in two symbolic details: first, the make-up itself, covering his face, hair and torso – a thick kaki layer, reminding of military camouflage – and second, the paper used to remove the make-up – black and white prints of stills taken from Gillo Pontecorvo’s 1965 film, “La bataille d’Alger” ( The Battle of Algiers). These still images put together recreate a sequence in which a young Algerian woman takes off her veil and puts on Western make-up.

Film & Video (Film & Video)

Lens Flare and the series Untitled Basel Lens Flare (6168, 5950, 7497) were part of a solo project by the artist presented at ArtBasel in 2009. Included in the Kadist Collection, these works continue to explore the ontology of the image to investigate the relationship between painting, photography, and a new time-based variable: film. Reduced here to the essential function of recording the exposure of light through the apparatus of a lens, Kantor then translated these film stills into painted colored canvases that retain the 3:4 aspect ratio of the 16mm film as well as the exact size of the projected image.

Film & Video (Film & Video)

Julien Crépieux is interested in the medium of video and its confrontation with cinema. Microfilm is a video transcription of a cinematographic work. It isn’t a remake or an adaptation, but a transcription in the musical sense.

Film & Video (Film & Video)

To the syncopations of a jazzy soundtrack, Korean words in white against a black background flashes between an English dialogue in black text against white ground. Comprised of curt lines such as “forever” “failure” “to live,” the Korean forms non-sequiturs and double entendres to the English script following a line of questioning between a detective and a victim telling a meandering story surrounding a bullet being in a wrist, going to hospital, traveling to Japan, and the discovery of a love triangle. This narrative of a potentially grave situation is told in a nonchalant manner.

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)

Leonardogillesfleur describe Action 3:02 as their “first New York blizzard storm at about 5am. The photographic moment of a photo album which could have been taken by anybody in any familiar situation with the intention to immortalize that moment.”

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.