Sculpture (Sculpture)

Hueso de culebra (Snake Bone) arises from the stories that the artist’s grandmother used to tell him as a child about her father’s medical and spiritual practices in the southern part of Costa Rica, close to the border with Panama. One of them revolved around a plant that had various uses, from healing poisonous snake bites to predicting the future. She said, for example, that if one came across this plant during a period of drought, it could mean trouble was coming.

Installation (Installation)

Addressing the 1966 XVII World Chess Olympics, Pataki 1921 by Ulrik López continues the artist’s interest in chess as a subject and as a symbol for various world affairs and political confrontations. Pataki 1921 is an installation that derives from and expands on Cuban choreographer Alberto Alonso’s ballet piece titled La partida viviente (The Living Match) which opened the Olympic. The choreography recreates the 1921 World Championship chess match where the Cuban player José Raúl Capablanca won the world title against the German master Emmanuel Lasker, becoming the first Latin-American, but more precisely Caribbean, player to win this title.

Film & Video (Film & Video)

Jepira is a mythical and essential place of the spiritual dimension for the Wayuu people. It is the starting point and final resting place in their transcendence process which is part of the territory and not dissociated from it, such as in the Catholic notion of Heaven. Today, the Pilon de Azúcar hill which corresponds with Jepira is part of their reclaimed land and connects this dessert culture to the sea; it is the place the Wayuu go when they need to speak with the dead which, along with dreams, is the main way to access spiritual knowledge.

Photography (Photography)

Awol Erizku’s image Origin of Afro-Esotericism has compositional force and a rhythmic use of full-blast color. In the image are five faces each with varying modes of representation. One of them is “Aunt Jemima” (recently renamed Pearl Milling Company), a brand that appropriated a character from a late 19th century minstrel show.

Sculpture (Sculpture)

tombs and ignitions is a collaborative ceramic sculpture by artists Tyler Cross and Kyle Lypka. The work was translated by Kyle Lypka from Tyler Cross’s original drawing into three dimensions by coil building upwards. Lypka chose to coil build instead of using slabs because, although very flat and geometric, he believed that the form would benefit from the more organic technique of coil building, which after drying and firing tends to twist and pull, adding a sort of paradoxical swing and motion to the work’s angularity.

Sculpture (Sculpture)

font VII by Catalina Ouyang is part of an ongoing series of ‘fonts’, or sculptures, inspired by Catholic holy water vessels. This particular iteration from the series combines hand-carved soapstone, a stop loss trap, horse hair, fermented egg, and other elements to create an artwork that defies categorization. The work’s most notable feature is a small cavity that cradles a naked egg—a translucent, flaccid egg without its outer shell.

Film & Video (Film & Video)

On the first day of the Covid-19 lockdown in New York, Andrew Norman Wilson was evicted from his sublet and decided to board a $30 flight to Los Angeles that evening. From a cottage that faces the Hollywood sign, he began to dwell on an encounter he had with a woman driving alongside him on the highway, emphatically singing along to the song he was listening to through the same radio station. That song was Phil Collins’s “In the Air Tonight.” For Wilson, the uncanny synchronicity of this encounter with a stranger tuned into the same frequency resonated with the inspiration for Phil’s song, which he first heard as a teenager while getting high in a friend’s basement.

Sculpture (Sculpture)

For many years Tripp has been involved in reviving Karuk ceremonies that had been discontinued for decades, he developed his signature abstract style, based in Karuk design, ceremonial regalia forms, and related cultural and political iconography. The two works in the KADIST collection are a continuation of these forms with in the medium of sculpture.

Photography (Photography)

366 Liberation Rituals is a series that gathers a number of actions related to the artist’s micro-politics. They materialize as a plurality of pointers that destabilize reality and interrogate our outlook on the political historicity of former Yugoslavia. These actions were realized over the course of the year the artist turned forty and revolved for one part around the revolutionary movement of 1968 and on the other on the informal group called Grupa šestorice autora (Group of Six Authors)* which was active in Zagreb between 1975 and 1979.

Painting (Painting)

The ongoing “Sea Paintings” series is central to the practice of Jessica Warboys. The series plays with the notion of ritual, performance, nature and consequence. The artist realises her “Sea Paintings” on the Zennor coast, near St Ives, where she emerges the canvas in the seawater, allowing the waves and the wind to mix the raw mineral pigments that have been applied by hand to damp folded canvases.

Sculpture (Sculpture)

Known But to God: The Dug Up, Dissected, and Disposed for the Sake of Medicine by Doreen Lynnette Garner is a small, suspended sculpture composed of glass, silicone, steel, epoxy putty, pearls, Swarovski crystals, and whiskey. At once attractive and repulsive, the sculpture combines objects of adornment with what appears to be viscera. The sculpture’s curious delicacy evokes a ritualistic catharsis, in response to persistent forms of medical racial violence and objectification for Black people in America and around the world.

Film & Video (Film & Video)

The final work in the Marshal Tie Jia series (of which Turtle Island is in the KADIST collection), Spirit Writing features the Marshal in conversation with Chia-Wei Hsu, by way of a ritual involving the Marshal’s divination chair. Marshal Tie Jia is a frog god, who was born in a pond in Jiangxi, China, before fleeing to Matsu Island off the coast of Taiwan during the Cultural Revolution after his temple was destroyed. Spirit Writing attempts to reconstruct the original temple using 3D modeling software, operated in real time as Hsu asks the Marshal questions, receiving answers through a divination ritual in which the chair is swung violently around by his acolytes.

Sculpture (Sculpture)

Anne Samat’s Puteri 3 references Ulek Mayang, a classical Malay dance, performed in a ritualistic pre-Islamic context. It is based on the myth of a princess from the sea who steals the soul of a fisherman she falls in love with, leaving his body lifeless. A battle ensues for the soul of the fisherman, between a shaman (bomoh) trying to bring back the spirit into the earthly flesh and the princess aided by five of her sisters.

Film & Video (Film & Video)

The artist duo João Maria Gusmão and Pedro Paiva traveled to Japan for a month to make a series of short 16mm films, often shot in slow-motion. This film, shown in continuous loop, has a run-time of just under 3 minutes, and is presented without sound. It captures a traditional Shisa (combination of a dog and lion from Okinawan mythology) animated by an invisible person.

Film & Video (Film & Video)

Leyla Stevens’s two-channel video Patiwangi, the death of fragrance is an immersive video installation that addresses erased histories. In the left channel, set in a fine museum storage facility, art conservators unfurl and inspect modernist Balinese paintings, prints, and sculptures. In the right channel, Javanese-Australian dancers, Ade Suharto and Melanie Lane, echo each other’s movements.

Painting (Painting)

The work Timur Merah Project 2, the harbour of restless spirit is stretched out on a full cow’s hide, replicates the Kamasan Balinese painterly language that Citra Sasmita has developed in her recent works. It represents female figures, flames, and various natural elements, permutating whimsically in a narrative of pansexual energy. While rooted in mythological thinking, with specifically Hindu and Balinese references, the scenes are equally part of a contemporary process of imagining a secular and empowered mythology for a post-patriarchal future.

Film & Video (Film & Video)

The Wedding is a silent film, a probing observation of marriage rituals in Qatar in which we soon notice that there is not a single woman visible. The film is part of the broader project The Challenge through which the artist depicts the boredom and rituals endured by young Qatari men throughout various forms of costly and codified entertainment, including the highly theatrical practices of falcon hunting or car racing. The strange, almost surreal, choreography set against an artificial, overexposed backdrop, highlights the privileged presence of men in this part of the world, grouped together by sex and social class.

Film & Video (Film & Video)

The essay film How to Improve the World by Nguyen Trinh Thi takes us into an indigenous village of the Jrai people in the Central Highlands of Vietnam, in Gia Lai province. It begins with sound – perhaps a hammer, or a gong – the lack of image making its identification difficult. A landscape emerges of an open field where a farmer tends his grazing cow herd.

Painting (Painting)

Young Min Moon’s recent paintings repetitively portray the rituals bound up in the Korean tradition of Jesa. Even amidst the disappearance of many Korean customs, Jesa, a type of Confucian ancestor veneration rites, remains a practice in South Korean society that cannot be easily discarded. Throughout the artist’s childhood, Jesa were the only moments through which he could find peace and safety in times that were rife with violence and commotion.

Film & Video (Film & Video)

For her work in Sharjah Biennial 14, Alia Farid traveled from the United Arab Emirates to Iran across the Strait of Hormuz to film the longest day of the summer. On Qeshm Island, where her film is set, the summer solstice is referred to as Nowruz Al Sayadeen (Farsi for “fishermen’s new year”). The work foregrounds a number of local residents whose performances draw attention to their material surroundings and natural environment–– from a brightly decorated domestic interior to an expansive sea view overlooking the Arabian Gulf.

Painting (Painting)

Young Min Moon’s recent paintings repetitively portray the rituals bound up in the Korean tradition of Jesa . Even amidst the disappearance of many Korean customs, Jesa, a type of Confucian ancestor veneration rites, remains a practice in South Korean society that cannot be easily discarded. Throughout the artist’s childhood, Jesa were the only moments through which he could find peace and safety in times that were rife with violence and commotion.

Film & Video (Film & Video)

Images is a two channel video work addressing the relationship between art and ritual. On the left side, the artist is filmed in a sparse, red room with his tongue nailed onto a red table. With Lim’s freedom of movement and speech limited, the viewer focuses on the facial expressions of the artist as different streams of thoughts and realizations enter his mind.

Drawing & Print (Drawing & Print)

Hama Goro works with a traditional method called the Bogolan technique, which is inspired by a method used in Mali to color clothes. The ingredients of the various colors originate from natural products such as clay, leaves and bark. The colors had a symbolic significance and were used during ritual ceremonies.

Photography (Photography)

Rotation presents the image of a crowd, a re-appropriation of 19th or beginning of 20th century photographs published in newspapers and magazines. This artwork is composed of the same image repeated four times with different resolutions. The last image in Rotation is less focused than the original one.

Sculpture (Sculpture)

This work forms part of a project that draws upon research into the use of psychoactive substances present in animal brains during the Paleolithic period. Bolstered by research by archaeologist Bethe Hagens, the artist explores the hypothesis that prehistoric shamans consumed the psychoactive parts of animal brains in order to achieve spiritual ecstasy and that the found figurines, reproduced by Marguerite Humeau, are an archival remnant of these experiences. The so-called “Venus figurines” take the form of ambiguous female forms and despite their exaggerated gendered traits, the onus is instead upon the resemblance to the ingested animal brains that led to their production.

Film & Video (Film & Video)

Truong Cong Tung’s Journey of a Piece of Soil (2013) and its accompanying object-based installation of the same name (2014) consider the function of ritual in larger modes of collective engagement and cultural production. In examining how spirituality inflects social engagement, Truong’s contemplates the juncture at which the rational beings encounter the unexplained while also suggesting how embodied practices offer vital conduits for experiencing new modes of consciousness. The video features a man dressed in camouflage fatigues with a blue cap tilling a patch of red-clay soil amidst a green-stalk covered patch of land.

Painting (Painting)

In Seven Deadly Sins (2006), Shen utilizes abstraction to produce complex topographies of color that evoke associations with violently tumultuous landscapes. Streaks of blue and burgundy paint scatter across a peach colored silk backdrop, dripping into rough floral and botanical forms. At once both diffuse and dense, Shen’s compositions feel both expansive and contained, the colors overlaid atop another with a seemingly free spontaneity that belies more ordered and considered deliberation.

Drawing & Print (Drawing & Print)

The graphite drawing 4 mourners on a mantel by Gala Porras-Kim is part of a larger installation and body of research, entitled An Index and Its Settings (Un Índice y Sus Entornos) , in which the artist reconsiders 235 ancient burial figures (from circa 200 BCE – 50 CE) from what is now Mexico’s Pacific coast that are part of the Proctor Stafford Collection held by the Los Angeles County Museum of Art (LACMA). Eschewing their current musicological function, 4 mourners on a mantel presents photo-realistic depictions of said figures on top of a hypothetical collector’s fireplace. Herein, these funerary objects are displaced as curios which stare back at the viewer in signs of grief and confusion.

Installation (Installation)

Ofrenda [Offering] by Elyla includes a single-channel video and the mask used in the performance. The video is a recorded action of the artist, who appears removing a sieve mask that was pinned to the skin of their face, leaving a trail of blood that falls on their naked, mud-covered body. Worn in El Baile de las Negras , a colorful dance performed by men dressed as women, the mask originates from Indigenous celebrations in Monimbó, Nicaragua.

Film & Video (Film & Video)

Global? 1 & 2 documents an annual event during which people of a particular religious group gather around Jejuri in Maharashtra, India. The six-day festival, from the first to sixth lunar day of the bright fortnight of the Hindu month of Margashirsha is celebrated to allow the meeting of the principle God (Khandoba) with other gods carried from different homes of the patrons who take them back at the end of the ceremony.