© » KADIST
Bani Abidi
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi . These staged photographs were shot against the backdrop of the city’s empty streets at sundown during the holy month of Ramadan. During this time, Muslims fast and retreat indoors, leaving the city eerily empty.
© » KADIST
Chen Chieh-Jen
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc. (2010), which takes as its point of departure the political context of the 1950s and the Cold War, when American interests in Taiwan overlapped with the Chinese civil war. Cooperating with the Chinese Kuomintang, the American CIA established something called Western Enterprises, an agency whose main tasks included training an anti-Communist National Salvation Army (NSA) for a surprise attack on Communists in mainland China and establishing Taiwan as a base for anti-Communist operations in Southeast Asia. Narrated from the point of the view of the artist’s father, once a member of the NSA, the project interweaves personal experience with historical events.
© » KADIST
Vincent Leong
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city. This images reflect on a dystopian future of the country, perhaps drawing parallel with the political changes in Malaysia.
© » KADIST
Jin Shan
Retired Pillar represents the death and deterioration of legacy of colonial Shanghai. The silicon Corinthian column lays horizontal upon its pedestal, inflating and deflating in the rhythm of difficult breathing, as if exhausted by its lifelong labor. Shan comments on the deterioration of the influence of French colonialism within Shanghai as well as the adoption of Western forms of architectural decoration as symbols of wealth and power.
© » KADIST
Ozawa Tsuyoshi
Dr. N Song belongs Ozawa’s body of work The Return of Dr. N in which he follows a humorous fictional character based upon the historical figure Dr. Hideyo Noguchi who researched yellow fever in Ghana in 1927. Though Dr. Noguchi was known for his unruly temper and behavior and many of his discoveries were erroneous, he was widely revered in Japanese society. Ozawa’s Dr. N story explores links between Japan and Africa, past and present, fact and fiction, through the commissioned work of Ghanaian painters and musicians working in popular African styles.
© » KADIST
Chen Chieh-Jen
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc. (2010), which takes as its point of departure the political context of the 1950s and the Cold War, when American interests in Taiwan overlapped with the Chinese civil war. Cooperating with the Chinese Kuomintang, the American CIA established something called Western Enterprises, an agency whose main tasks included training an anti-Communist National Salvation Army (NSA) for a surprise attack on Communists in mainland China and establishing Taiwan as a base for anti-Communist operations in Southeast Asia. Narrated from the point of the view of the artist’s father, once a member of the NSA, the project interweaves personal experience with historical events.
© » KADIST
Shilpa Gupta
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears. These images suggest that seemingly mobilized societies can actually produce more fear and myths, and that no real freedom is ensured. Instead of facilitating the free circulation of ideas, “advanced” political and technological systems often generate more cultural clichés, wars, and terror.
© » KADIST
Shilpa Gupta
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall. Its severed tip dangles from the end of the blade by a string, floating just above the gallery floor.
© » KADIST
Shilpa Gupta
Drawing & Print (Drawing & Print)
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.
© » KADIST
Mariana Castillo Deball
Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened. The books belong to O Mundo dos Museus (The World of Museums), a collection conceived by the Brazilian designer Eugênio Hirsch in the 1970s. More than simply a catalogue of artworks, each offers the reader a promenade through a different world museum and its functioning, starting with photo reportage of the building, its urban landscape and architecture, the management and restoration of works, and visitors walking though the galleries.
© » KADIST
Simon Fujiwara
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face. Masks (Merkel F6.1) was created in consultation with Merkel’s personal make-up artist; it features the special makeup that Merkel wears for HD cameras applied onto canvas. The image has been magnified to a near-microscopic level, rendering an ambiguous skin tone across which the makeup’s denser patches produce an abstract composition.
© » KADIST
Wong Hoy Cheong
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist. It marks a new dimension of his ongoing effort to negotiate with the postcolonial reality across the world, with a unique interventional strategy to deal with the French society. Named after a soap opera in U. S. which has been running practically everyday for over 40 years, Days Of Our Lives is a series of six photographs which explores this new Europeaness.
© » KADIST
Wong Hoy Cheong
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society. Named after an American daytime soap opera that been running for over forty years, Days of Our Lives is a series of six photographs that explore contemporary Europeaness. Here, domestic, everyday scenes drawn from French paintings in the Museum of Fine Arts in Lyon——preparing food, relaxing, reading and playing music, giving charity to the poor, being evicted from home, or going off to War—are reenacted by Muslim Nigerians, Iranians, Turkish, and Buddhist Burmese minorities.
© » KADIST
An-My LE
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture. In the background, the steel pillars creates a division of space implying a separation the two men according to their geographic regions of origin or residence, their vocations, their ethnicities, and their attitudes toward war. Yet, the mirrored body language of the two characters also suggests their reconciliation into a dialogue perhaps characterized by the protagonists’ physical and spiritual conversation.
© » KADIST
Wong Wai Yin
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages. The artist used found images from the internet, including a viral photo of an elderly woman who took part in the 2016 “Black Monday” strike against a proposed anti-abortion law in Poland, and another image taken the same year of a group of protestors in the United Kingdom, rallying for the Black Lives Matter movement. Drawing parallels with Hank Willis Thomas’s I Am a Man (2013) painting in the KADIST Collection, Wong employs the visual language and terminology of mass media, specifically borrowing images from protests on civil rights issues.
© » KADIST
Wong Wai Yin
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China. For this video, Wong accompanied six male friends from art school to a group show of their work titled “Inside Looking Out” at Osage Gallery in Beijing. Throughout her visit, she was rarely acknowledged for her own creative accomplishments and was more frequently introduced as an artist’s girlfriend, and often without name.
© » KADIST
Wong Wai Yin
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages. The artist used found images from the internet, including a viral photo of an elderly woman who took part in the 2016 “Black Monday” strike against a proposed anti-abortion law in Poland, and another image taken the same year of a group of protestors in the United Kingdom, rallying for the Black Lives Matter movement. Drawing parallels with Hank Willis Thomas’s I Am a Man (2013) painting in the KADIST Collection, Wong employs the visual language and terminology of mass media, specifically borrowing images from protests on civil rights issues.
© » KADIST
Wong Wai Yin
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages. The artist used found images from the internet, including a viral photo of an elderly woman who took part in the 2016 “Black Monday” strike against a proposed anti-abortion law in Poland, and another image taken the same year of a group of protestors in the United Kingdom, rallying for the Black Lives Matter movement. Drawing parallels with Hank Willis Thomas’s I Am a Man (2013) painting in the KADIST Collection, Wong employs the visual language and terminology of mass media, specifically borrowing images from protests on civil rights issues.
© » KADIST
Hamra Abbas
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country.
© » KADIST
Ellen Lesperance
Somewhere Along the Black Sea in the Distant North-East, or in Libya in the Furthest South, The Amazons – The Woman and the Girls Children – Exist Just Outside of the Range of Normal Human Experience
© » KADIST
Kwan Sheung Chi
One Million is a video work depicting the counting of bills. Divided into three versions, the video first shows a number of Japanese ten-thousand-yen bills being counted without in an orderly, efficient manner. In Two Million , a similar counting of one-thousand-dollar bills from Hong Kong follows.
© » KADIST
Claudia Joskowicz
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it.
© » KADIST
Lisa Oppenheim
Drawing & Print (Drawing & Print)
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material. For this project, Oppenheim procured the original glass negatives, which had been damaged over time, from the archives of this newspaper. She then printed the negatives as is, highlighting the multitude of physical flaws that had ‘spoiled’ the negatives.
© » KADIST
Wong Wai Yin
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages. The artist used found images from the internet, including a viral photo of an elderly woman who took part in the 2016 “Black Monday” strike against a proposed anti-abortion law in Poland, and another image taken the same year of a group of protestors in the United Kingdom, rallying for the Black Lives Matter movement. Drawing parallels with Hank Willis Thomas’s I Am a Man (2013) painting in the KADIST Collection, Wong employs the visual language and terminology of mass media, specifically borrowing images from protests on civil rights issues.
© » KADIST
Lisa Oppenheim
Drawing & Print (Drawing & Print)
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material. For this project, Oppenheim procured the original glass negatives, which had been damaged over time, from the archives of this newspaper. She then printed the negatives as is, highlighting the multitude of physical flaws that had ‘spoiled’ the negatives.
© » KADIST
Claudia Joskowicz
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it.
© » KADIST
Oscar Munoz
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person. Since a photograph is fixed, it cannot encapsulate the spirit of someone who is gone. Muñoz etched onto the surface of a mirror an appropriated historical image, a daguerreotype from 1839.
Hank Willis Thomas
- location: New York, New York
- year born: 1976
- gender: male
- nationality: American
- home town: Plainfield, New Jersey
Carlos Amorales
- year born: 1970
- gender: male
- nationality: Mexican
- home town: Mexico City, Mexico
Claudia Joskowicz
Claudia Joskowicz is a video and installation artist working at the intersection of landscape, history, and memory...
Julio Cesar Morales
- location: San Francisco, California
- year born: 1966
- gender: male
- nationality: Mexican
- home town: Tijuana, Mexico
Wong Wai Yin
Wong Wai Yin is an interdisciplinary artist who experiments with a variety of media ranging from painting, sculpture, collage, performance, video, installations and photography...
Mario Garcia Torres
- location: Mexico City, Mexico
- year born: 1975
- gender: male
- nationality: Mexican
- home town: Monclova, Mexico
Shilpa Gupta
- location: Mumbai, India
- year born: 1976
- gender: female
- nationality: Indian
- home town: Mumbai, India
Kwan Sheung Chi
Kwan Sheung Chi obtained a third honor B.A...
Enrique Ramirez
- year born: 1979
- gender: male
- nationality: Chilean
- home town: Santiago, Chile
Mariana Castillo Deball
- location: Amsterdam & Berlin
- year born: 1975
- gender: female
- nationality: Mexican
- home town: Mexico City, Mexico
Bani Abidi
Bani Abidi’s practice deals heavily with political and cultural relations between India and Pakistan; she has a personal interest in this, as she lives and works in both New Delhi and Karachi...
Wong Hoy Cheong
- location: Kuala Lumpur, Malaysia
- year born: 1960
- gender: male
- nationality: Malaysian
- home town: George Town, Malaysia
Lisa Oppenheim
- location: New York, New York
- year born: 1975
- gender: female
- nationality: American
- home town: New York, New York
Daniel Joseph Martinez
- location: Los Angeles, California
- year born: 1957
- gender: male
- nationality: American
- home town: Los Angeles, California
Minouk Lim
- location: Seoul, South Korea
- year born: 1968
- gender: female
- nationality: Korean
An-My LE
- location: New York, New York
- year born: 1960
- gender: female
- home town: Saigon, Vietnam
Lu Chunsheng
- location: Shanghai, China
- year born: 1968
- gender: male
- nationality: Chinese
- home town: Changchun, Jilin province, China
Chen Chieh-Jen
- location: Taipei, Taiwan
- year born: 1960
- gender: male
- nationality: Chinese
- home town: Taoyuan, Taiwan
Kara Walker
- location: New York, New York
- year born: 1969
- gender: female
- nationality: American
- home town: Stockton, California
Andrea Bowers
- location: Los Angeles, California
- year born: 1965
- gender: female
- nationality: American
- home town: Wilmington, Ohio
Nalini Malani
- year born: 1946
- gender: female
- nationality: Indian
- home town: Karachi, Pakistan
Danh Vo
- location: Berlin, Germany
- year born: 1975
- gender: male
- nationality: Vietnamese and Danish
- home town: Ba Ria, Vietnam
Xu Tan
- location: Amsterdam, Netherlands
- year born: 1966
- gender: female
- nationality: Dutch
- home town: Pekan Baru, Indonesia
Adrian Villar Rojas
- year born: 1980
- gender: male
- nationality: Argentinean
Sun Xun
- location: Hangzhou, China
- year born: 1980
- gender: male
- nationality: Chinese
- home town: Fuxin, Liaoning Provence, China
Nan Goldin
- year born: 1953
- gender: female
- nationality: American
- home town: Washington, D.C.
Ellen Lesperance
Ellen Lesperance begins with archival footage of various activist events throughout history...
Stephen G. Rhodes
- location: New York, New York
- year born: 1977
- gender: male
- nationality: American
- home town: Houston, Texas
Adrian Wong
- location: Hong Kong, China
- year born: 1980
- gender: male
- nationality: American
- home town: Chicago, Illinois
© » ARTLYST
about 12 months ago (01/17/2024)
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
© » APERTURE
about 13 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....
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1940-1949
Diego Rivera
1940In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
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1970-1979
Allen Ruppersberg
1970Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
Daniel Joseph Martinez
1978For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
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1980-1989
Edward Kienholz
1984Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
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1990-1999
Nalini Malani
1996Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
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2000-2009
Xu Tan
Drawing & Print
2000(Drawing & Print) Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions...
Glenn Ligon
Drawing & Print
2000(Drawing & Print) Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Lisa Oppenheim
Drawing & Print
2003(Drawing & Print) The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Lisa Oppenheim
Drawing & Print
2003(Drawing & Print) The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Lisa Oppenheim
Drawing & Print
2003(Drawing & Print) The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Xu Tan
Drawing & Print
2003(Drawing & Print) Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions...
Mario Garcia Torres
2004Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
Lu Chunsheng
2004A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...
Wong Hoy Cheong
2004Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Mario Garcia Torres
2005Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Carlos Amorales
Drawing & Print
2005(Drawing & Print) Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
Daniel Joseph Martinez
2005Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
Kara Walker
2005In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
Harrell Fletcher
2005The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
Julio Cesar Morales
Drawing & Print
2006(Drawing & Print) Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
Edgar Arceneaux
Drawing & Print
2006(Drawing & Print) Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
Carlos Amorales
2006This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Claudia Joskowicz
2007The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Kwan Sheung Chi
2007A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
Simon Starling
2007Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Carlos Amorales
2007This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Yoan Capote
2007Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain...
Bani Abidi
2008The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Shilpa Gupta
2008The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
Wong Wai Yin
2008In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
Claudia Joskowicz
2008The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Bani Abidi
2008The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Dinh Q. Lê
2008Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
Zhang Peili
2008In the video installation A Gust of Wind , Zhang continues to explore notions of perspective and melds them seamlessly with a veiled but incisive social critique...
Julio Cesar Morales
2008The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...
Shilpa Gupta
2009In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
Mariana Castillo Deball
2009Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...
Wong Hoy Cheong
2009Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
Wong Hoy Cheong
2009Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Oscar Munoz
2009In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
Claudia Joskowicz
2009The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
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2010-2019
Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Chen Chieh-Jen
2010Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
An-My LE
2010The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
Hamra Abbas
2010At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Stephen G. Rhodes
2010For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
Andrea Bowers
Drawing & Print
2010(Drawing & Print) The small drawings that comprise Study from May Day March, Los Angeles 2010 (Immigration Reform Now) and We Are Immigrants Not Terrorists are based on photographs taken at a political rally in downtown Los Angeles in which thousands of individuals demonstrated for immigrants’ rights...
Mario Garcia Torres
2010In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
Adrian Villar Rojas
2010The two drawings in the Kadist Collection are part of a larger series entitled Las Mariposas Eternas (The Eternal Butterflies)...
Ho Tzu Nyen
2011The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
Karl Haendel
Drawing & Print
2011(Drawing & Print) Haendel’s series Knights (2011) is a set of impeccably drafted, nine-foot-tall pencil drawings depicting full suits of armor...
Julio Cesar Morales
2011Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
Vincent Leong
2012The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Bani Abidi
2012The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
Kwan Sheung Chi
2012Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Minouk Lim
2012The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
Adrian Villar Rojas
Drawing & Print
2012(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...
Nalini Malani
2012Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
Hank Willis Thomas
Drawing & Print
2012(Drawing & Print) Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Adrian Wong
2012Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
Hank Willis Thomas
2012Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Hank Willis Thomas
Drawing & Print
2012(Drawing & Print) Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Hank Willis Thomas
2012Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Rodney McMillian
2013In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
Burak Delier
2013Burak Delier’s sculpture Homage to Balotelli’s Missed Trick is a symbol of resistance to the demand for success and performance...
Amalia Pica
2013Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013)...
Kori Newkirk
2013LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...
Hank Willis Thomas
2013The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Shilpa Gupta
Drawing & Print
2014(Drawing & Print) These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
Shilpa Gupta
Drawing & Print
2014(Drawing & Print) These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
Daniel Crooks
2014The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...
Claudia Joskowicz
2014Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
Ximena Garrido Lecca
2014Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...
Carlos Amorales
2014Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance...
Hank Willis Thomas
2014South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Hank Willis Thomas
Drawing & Print
2014(Drawing & Print) Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Mariana Castillo Deball
2015Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
Andrea Bowers
2015Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Claudia Joskowicz
2015Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
Simon Fujiwara
2016Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
Enrique Ramirez
2017Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez
2019Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
Xaviera Simmons
2019Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances...
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2020-2029
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Wong Wai Yin
2021Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
