Film & Video (Film & Video)

Há Terra! (There Is Land!) is a short film by Ana Vaz that picks up on the artist’s previous film A Idade da Pedra (2013), in which Vaz imagined premodernity in her native Brazil.

Film & Video (Film & Video)

Developed especially for the KADIST-KHOJ collaborative exhibition, Frozen World of the Familiar Stranger , Radar Level is set in the world’s last geological minutes, in two ancient landscapes. One in the northern hemisphere in Mongolia at the site of the first dinosaur egg excavation and the other beneath the southern constellation of Nambia, on its old waters. Embedded within the work are a series of dualities and codes.

Film & Video (Film & Video)

Park Chan-Kyong’s film Citizen’s Forest draws on two works for which the artist has a particular fondness: The Lemures , an incomplete painting by Korean artist Oh Yoon, and Colossal Roots , a poem by Korean poet Kim Soo-Young. The Lemures (1984) is a panoramic sketch depicting a procession of victims from major events in modern Korean history, including the Donghak Peasant Revolution, the Korean War, and the Gwangju Uprising. Colossal Roots (1974) is an intellectual text taking into account the multiple layers of unconditional acceptance of traditions while subverting the Orientalist perspective.

Film & Video (Film & Video)

Zeppelintribüne (2002) was shot near the Zepelintribune in Nuremberg, designed by Albert Speer, chief architect of the Third Reich. The 360-metre-long structure is part of a larger architectural complex called the Zeppelinfeld, which the National Socialist used for their marches and rallies. The Zeppelintribune was immortalized in the Leni Reifenstahl’s film-propaganda masterpiece the Triumph of the Will, a record of a 1934 Nazi Party rally.

Installation (Installation)

Recollections of Long Lost Memories by Ahmad Fuad Osman is a series of 71 black and white sepia-toned archival photographs that chart, with nostalgia, the social encounters between hierarchies of life in the Malay world. It begins with British colonial rule in the mid 1800s, followed by its occupation by Japanese forces in the 1940s, the rise of Communism in the 1950s, and then the racial issues between Islamic, Chinese, and Indonesian populations in a multicultural country desiring political independence in the 1960 and 70s. The archival photographs in this series were gleaned from national archives, museums, libraries, and old books across Malaysia.

Sculpture (Sculpture)

Forgotten Statues , 2020 continues the artist’s reflections on power and the fragility of works of art. In this case, it’s no longer about sculptures which are no longer on display but rather those that are on permanent display, fixing the official narrative of art history. In Forgotten Statues , the artist reproduces from memory sculptures from the permanent exhibition of the Art Museum in Cluj.

Photography (Photography)

Kastura (2012) is an installation consisting of 24 black-and-white photographs of the Katsura Imperial Villa in Kyoto bequeathed by Kimura’s grandfather; free-standing structures on which they are hung; and ornamental plants. The photographs appear to have been taken in late 1950s soon after tours of the villa were first offered to the public. Then, as today, visitors were led by a guide and could only follow a designated route.