Sculpture (Sculpture)

The Subtle Rules the Dense is a series of masks/torsos/body plates that Phoebe Collings-James cast from mannequins and then worked by hand. The resulting objects lie ambiguously between a representation of a human torso and a shamanistic mask. The work is reminiscent of Yoruba and Makonde body masks that portray pregnant forms, as well as Roman armor with nipple rings.

Film & Video (Film & Video)

This video is a montage of documentary and virtual images found on the Internet. They all have a performative dimension with varying registers of violence. The title – Super Amuleto – refers to the lucky charm of a rabbit’s foot.

Drawing & Print (Drawing & Print)

Témoin rouge

Photography (Photography)

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph. Contrarily to the actions, he took the photographs himself. One of the rules he stuck to in his artistic practice was to always use material at his disposal, a real economy of means.

Installation (Installation)

home, a temporary place by Mithu Sen is part of a project called AºVOID. In this fragmented mental map, the landscape is fleeting, embossed, and ethereal; there are moments of recognition and also a near-violent sudden emptying of memory. Bodies are skeletal, nature is in entropy, context is removed.

Sculpture (Sculpture)

Pau-Brasil is a sculpture by Thiago Honório that references Oswald de Andrade’s 1925 classic of Brazilian modernist literature of the same title. De Andrade’s work demands the resuscitation of “Brazilian” language and culture, advocating for the cultivation of invention and an illogical, “agile and candid” attitude. In response, Honorio’s work takes the physical form of a laquered stalk of the pau brasil tree, from which de Andrade’s work drew its title, piercing the physical form of the book itself.

Textile (Textile)

The Korean title for U: Repair the cowshed after losing the cow = Too late is —a famous Korean proverb meaning “you are doing something when you are already late to do it”. This work by Seulgi Lee is a nubi (traditional Korean quilt) blanket project that shows Korean proverbs expressed as geometric shapes. Nubi blankets were used as single sheet summer blankets in Korean households until the 1980s.

Painting (Painting)

Vivian Suter paints her canvases and then allows them to come in contact with natural elements. For thirty years she has lived in isolation in the Guatemalan jungle, accumulating canvases, sometimes leaving them out for long periods of time. As a result, Suter does not title or date her paintings.

Textile (Textile)

Out of simple materials, Alicia Henry creates enigmatic, somewhat troubled characters, which reveal her interest in the complexities and the contradictions surrounding familial relationships. The artist probes societal differences and how these variations affect individual and group responses to themes of beauty, the body, and broader issues of identity. Untitled explores these themes and addresses the processes through which women navigate such issues.

Film & Video (Film & Video)

“ I think we are oversaturated, filled to the brim with images in our inner subconscious eye. Towards the end of 2020, I was feeling very much that I couldn’t take in any more information visually. That was when I made Instruments of Air.

Sculpture (Sculpture)

Fauna is a figurative sculpture by Auriea Harvey that is characteristic of the artist’s practice—both serious and somewhat whimsical. Making use of old and new technologies, the work is a self-portrait. The sculpture features a soft and gentle human face made of 3D printed composite, sprouting from a clutter of clay and other materials.

Film & Video (Film & Video)

Silver & Gold combines video, performance, and original costumes into a self-proclaimed “filmformance” that evokes the legendary filmmaker Jack Smith and his tribute to 1940s Dominican movie starlet Maria Montez in a magical and joyfully twisted exploration of race, glamour, sexuality, and the silver screen. Taking Smith’s interest in Hollywood’s obsession with the reproduction of the exotic as a point of departure, Bustamante embodies Miss Montez. Here, video and the body function as both material and subject in her bizarre search for the new bejeweled body part that is at once her curse and oracle.

Drawing & Print (Drawing & Print)

This untitled print by Wade Guyton depicts an iteration of elements that are characteristic of the artist’s work. Inkjet printed on canvas is a duplicate flame motif overlaid with a stripe pattern. This work originated in Guyton’s interest in collecting various editions of the novel Firestarter by the popular horror and science fiction author Stephen King.

Film & Video (Film & Video)

One Thousand and One Attempts to Be an Ocean by Yuyan Wang reflects on the experience of not being able to see the world with depth perception. Made up of micro-events from ‘satisfying videos’ that swarm on the internet, the abstract narrative unfolds through layers of appropriation; referencing trance and minimal music in the process. The work addresses a desire for groundless waves, blended with today’s inexorable entropy of information societies.

Sculpture (Sculpture)

First Born by Rachel Rose is part of a series of works titled Borns which expands on the artist’s longstanding interest in the organic shape of eggs. For this sculpture made of rock and glass the artist has created a milky glass-blown shape, almost like fabric in its form, which is draped over a metallic rock in the shape of an egg. For the artist, the egg is an alchemical symbol that is representative of conception and birth.

Installation (Installation)

wombmate! by Mithu Sen is part of a project called AºVOID. In this fragmented mental map, the landscape is fleeting, embossed, and ethereal; there are moments of recognition and also a near-violent sudden emptying of memory.

Photography (Photography)

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph. Contrarily to the actions, he took the photographs himself. One of the rules he stuck to in his artistic practice was to always use material at his disposal, a real economy of means.

Sculpture (Sculpture)

Blue Elbow (Coude bleu) is made from plaster, burlap, lacquer, pigments and plastics. The materials related to the techniques of the sculpture or the painting but also others, which refer to commerce, to objects of consumption. The chair refers directly to the body as does the title of the work, Blue Elbow .

Installation (Installation)

Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings. Untitled is a collage on paper work by Kippenberger that typifies his everything-goes approach: a barely discernible, sliced image of Michael Jackson’s face is overlaid and woven with strips and triangular shapes from a different source into a single composition. Blue tones come from torn out pages of a book where fragments of illustrations can be seen.

Photography (Photography)

Wolfgang Tillmans initiated the ongoing series Faltenwurf in 1989, representing compositions of unused clothing, with special attention paid to the ways in which they drape and fold. The title is taken from a Germanic term used in the context of art history, designating classical drapery. In this particular photograph, Faltenwurf (Stairwell) , an assortment of various colored clothes lay tangled on a set of stairs, as a sculpture of abstract forms.

Film & Video (Film & Video)

In 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. His ultimate goal is to reveal the ways in which social image is constructed and to cast doubt on the ephemeral vision of a middle-class utopia offered by mass media.

Photography (Photography)

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005. His broad smile, on the verge of laughter, encourages reciprocity on behalf of the onlooker. This could be said to be a typical tactic in Creed’s work as it is so infused with humor and irony.