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)

Plane is an inflatable sculpture in the shape of an aeroplane made from numerous pieces of plastic bags assembled by an iron. The object is inflated by a fan at the structures base and deflates when it is deprived of its power source, causing the plane to sink. It is in this process that plane leans on its wings, evoking a crash, a defeat, or a failure.

Installation (Installation)

Jardín (2013) refers to environmental destruction, specifically the preponderance of disposable plastics, as well as Medellín’s long history of dangerous conflict; it was once considered the most violent city in the world because of the drug trafficking there. This floor sculpture consists of shoes made of river stones, strung with flip-flop straps. Here, Chavajay plays the natural (found stones) against the synthetic (plastic), heavy against light, hard against soft, revealing the irony of their fusion and the impossibility of their alleged function as shoes.

Installation (Installation)

Each day, Yuji Agematsu smokes a pack of cigarettes and wanders the streets of New York City looking for trash. Needless to say, he finds it everywhere: bottle caps, gummed hair, translucent miscellany, sick feathers, hot pink plastics, unknown, and more. The varied bits are then constellated by the artist in cellophane cigarette wrappers—modest vitrines for his steady collecting habit.

Sculpture (Sculpture)

Butter Mountain is part of an ongoing series of works that combines a sense of painterly mass and substance with sculptural language to examine the synergy between a topographical landscape and a landscape of the human condition. The work intentionally alludes to the materiality of the human body and of the land. A stool has been consciously repurposed as a “support”, that by its nature and identity provides evidence of human presence.

Painting (Painting)

In DUST 171217 Zhang Zhenyu uses fragments of dust collected across the city, and then creates dark abstract paintings, repetitively gluing the material to the canvas, applying up to 30 or 100 layers and sanding until he arrives at a smooth surface. The result is a reflective surface, an abstract object in which the viewer can see themselves staring back. The project began in 2014 and reflects a rampant process of modernization in his native China.

Sculpture (Sculpture)

In his White Discharge series (2002 to today), arguably his best known works, Kaneuji assembles old toys and plastic scarps into dramatic mounded heaps and covers the surface with white plastic resin, drawing on allusions to landfills, commodity fetishism, and creative repurposing. White Discharge (Built-Up Objects #38) (2014) appears playful, like a lost landscape from a whimsical Dr. Seuss story awaiting a charmingly wacky inhabitant. But in drawing its source materials from prefabricated and mass-produced objects, Kaneuji’s work also suggests more trenchant anxieties consumer culture and the rapid and wasteful accumulation that becomes “built-up” in all of our lives.

Sculpture (Sculpture)

Edinburgh Castle on the Bin Bag features a model of the Edinburgh castle constructed by using shiny black cards placed on top of an open, full black plastic trash bag. The model is delicate, with detailed rendering of windows and a flagpole. Despite the negative association of black plastic trash bag, this work offers a sense of wonderment in it its scale and subject matter.

Sculpture (Sculpture)

Improvisación escrita para lectura a primera vista

Film & Video (Film & Video)

In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented. The artists used disposable spoons as catapults to shoot thousands of plastic bottle caps at a hole in a concrete platform. The platform was once part of a U. S. military installation in the Panama Canal Zone, and it is now an observation deck in a nature park.

Photography (Photography)

Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994). The artist arrived a week prior to the opening with no artwork to install, and created three spontaneous works from locally sourced materials. This one was made of white plastic record sleeves that Orozco arranged on the damp roof of the gallery.