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Cebo & Dollar
© » KADIST

José Castrellón

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

Life ’64
© » KADIST

José Castrellón

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

Palo Enceba’o María Chiquita
© » KADIST

José Castrellón

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

General Joan Prim i Prats
© » KADIST

Daniela Ortiz

Photography (Photography)

Previously, Ortiz produced a series of photographs related to her research on the position of ‘service architecture’, the vital space given to domestic servants in the modernist architectural houses of South American upper class families. Following the same formal principal, she has developed a new series called Estat nacio . This work presents a critical point of view on the construction of a national sovereignty through speeches and laws concerning people who are not considered as citizens according to immigration legislation and the regulations affecting immigrants’ rights and freedom.

Land Rights Now
© » KADIST

Richard Bell

Painting (Painting)

For Richard Bell, art is not simply a vehicle through which to represent and convey political content. On one hand, art itself has an activist charge—in its very form and presence it can shake up conventional or assumed understandings, opinions, and behaviours. But on the other hand, it is deeply implicated in the actions and attitudes associated with colonialism in Australia and abroad.

To the Land of the Dead - Shiishonga
© » KADIST

Mercedes Dorame

Photography (Photography)

Mercedes Dorame utilizes photography to investigate, recode, and connect with her Gabrielino-Tongva tribe culture, as well as to bring current Indigenous experiences to light. The Tongva were the original inhabitants of what is now Los Angeles, and their domain stretched from Malibu to San Bernardino, including Aliso Creek. They have lived in the Los Angeles basin for over 8,000 years.

The Last Post
© » KADIST

Shahzia Sikander

Film & Video (Film & Video)

The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China. In this animation, layers of images, abstract forms, meaning, and metaphorical associations slowly unfold at the same time that more visual myths are created. The identity of the protagonist, a red-coated official, is indeterminate and suggestive of both the mercantilist policies that led to the Opium Wars with China and the cultural authority claimed by the Company school of painting over colonial India.

Daniela Ortiz

In order to reveal and critique hegemonic structures of power, Daniela Ortiz constructs visual narratives that examine concepts such as nationality, racialization, and social class...

Richard Bell

Richard Bell works across a variety of media including painting, installation, performance and video and text to pose provocative, complex, and humorous challenges to our preconceived ideas of Aboriginal art, as well as addressing contemporary debates around identity, place, and politics...

Shahzia Sikander

Mercedes Dorame

Mercedes Dorame is a photographer and member of the Tongva tribe in Los Angeles...

  • 2010-2019

    Shahzia Sikander

    Film & Video (Film & Video)

    2010

    The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...


    Daniela Ortiz

    Photography (Photography)

    2013

    Previously, Ortiz produced a series of photographs related to her research on the position of ‘service architecture’, the vital space given to domestic servants in the modernist architectural houses of South American upper class families...


    José Castrellón

    Photography (Photography)

    2016

    Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia...


    José Castrellón

    Photography (Photography)

    2016

    Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia...


    José Castrellón

    Photography (Photography)

    2016

    Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia...


    Mercedes Dorame

    Photography (Photography)

    2018

    Mercedes Dorame utilizes photography to investigate, recode, and connect with her Gabrielino-Tongva tribe culture, as well as to bring current Indigenous experiences to light...


  • 2020-2029

    Richard Bell

    Painting (Painting)

    2022

    For Richard Bell, art is not simply a vehicle through which to represent and convey political content...