Sculpture (Sculpture)

Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society. To these ends, she has used furniture, projections, photographs, clothing, and even people as her materials. A reflection on how the production of meaning itself takes place in the manufacturing of things is embodied in wooden hand chairs, a crafty Indonesian version of the iconic Pedro Friedeberg 1960s Pop design.

Drawing & Print (Drawing & Print)

Within the narrative of Sahej Rahal’s The rocks we will find, beings perform absurd acts in derelict corners of the city, emerging into the everyday as if from the cracks of our civilization, transforming them into liminal sites of ritual, and challenging ways in which we experience time and space. The temporal acts and their residue become primary motifs in his practice. The characters that inhabit these performances bare indices to different cultures, mythologies and pop culture.

Installation (Installation)

This work emphasises Kitty Kraus’s involvement with process, with alchemical transformations associated with Post-Minimalist aesthetics, Arte Povera, Joseph Beuys and Robert Smithson. The loss of form or its dissolution is at the heart of the series of lamps encapsulated in blocs of ice with liquid progressively spreading on the floor. The bulb is embedded in the ice.

Photography (Photography)

The series “The Golden lines” was started in 1996 and consists of photographs with “spiritual-transport” lines. While they resemble subway maps or star clusters, the lines mostly refer to ancient Chinese diagrams of Dao and inner alchemy. Both of the images are of undisclosed actions performed by Collective Actions on the field in Kyevy Gorky.