Film & Video (Film & Video)

Unfollow is a music video by Yung Jake featuring a man haunted by the shadows of a former relationship. With the omnipresence of social media in our daily lives, breaking up in the physical world no longer suffices: posts by his ex-lover still appear in his newsfeed, reminding him of her presence and thus making it harder from him to let go of his relationship. As the ‘unfollow’ button on social media appears to be the only way to break up completely, Unfollow underlines the barrier between our online and offline identities and the difficulty to separate them.

Film & Video (Film & Video)

In Rogers’ Columbine works, the artist explores the 1999 high school shooting that took place in Littleton, Colorado, claiming 34 victims. Rogers’ Columbine projects have focused on understanding the shooters through delving into online forums for other teenagers (many of them girls) who identify and sympathize with them. Her two-channel video work, Poetry reading in Columbine Cafeteria with Gazlene Membrane & Poetry reading in Columbine Library with Joan of Arc , focuses on two characters: Gazlene Membrane and Joan of Arc.

Film & Video (Film & Video)

I don’t remember is a video by Yung Jake that combines his passion for both music and the visual arts. As per several of his works the video borrows from the vernacular of rap and relies on the aesthetic and stylistic qualities of music videos. A humorous interpretation of the rap and hip hop genres, the video combines scenes from urban settings and snapshots of a party as the artist raps in a drowsy monotone about having forgotten the wild night.

Film & Video (Film & Video)

En rachâchant is based on the short story Ah! Ernesto! (1971) by Marguerite Duras in which the child Ernesto does not want to go to school anymore as all that he is taught are things he does not know.

Drawing & Print (Drawing & Print)

In his photographic series Périphérique (2005–2008), Mohamed Bourouissa used the composition of classical paintings to stage the portrait of friends and young people in the banlieue s (suburbs). He states “by deconstructing the clichés surrounding this subject, I deal with the problematic power struggle and its mechanics.” This series follows various themes explored throughout the work of Bourouissa. For Temps Morts, his first film, he depicted a yearlong series of mobile phone exchanges with someone in prison.

Painting (Painting)

Mull’s Worker’s Clock collage works bring together images from the artist’s studio photography practice, found photographs, and pages from a phone book, laying them over a psychedelic warp of color in the background. One of the images is borrowed from a billboard, Double Block (for Alanna Pearl, Nik Nova and R. Mutt) (2013) that Mull created to hang above some storefronts in downtown Los Angeles. The pair of photographs features a woman posed in the center for rings of numbers, her body and shadow taking the place of the mechanical hands.

Photography (Photography)

Au bord du Fleuve Niger (1976) offers a unique insight into the lives of the 1970s in Bamako. The photograph provides a glimpse into the notoriously active and exciting life alongside the Niger River, where parties would often last until the early hours of the morning. The gaze of the teenage boys who pose for Sidibé bears witness to an intimate space between the lens of the camera, the artist, subjects and the viewer.

Film & Video (Film & Video)

Wonderland is a music video for the Turkish hip-hop group Tahribad-I Isyan (Rebellion of Destruction). The young hip-hop artists respond with anger and defiance to their forced expulsion from Sulukule, a historic Roma settlement in Istanbul, due to a redevelopment project. Their lyrics address issues of gentrification and inequality, while their actions show the possibilities for both violent and artistic rebellion.

Film & Video (Film & Video)

603 Football Field presents a soccer game played inside a small student apartment in Shanghai. Installed like monitors fed by surveillance cameras, the videos present a voyeuristic entry into a private space, where two teams of men are scurrying around a bed, a desk, and some shelves in to score a goal, represented by a kitchen at one end and bathroom at the other. The game is furnished with complete uniforms, a referee, and a midfield line.

Painting (Painting)

The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon. The images allude to recurring topics, such as the superhero (present both in Untitled Superman and No title without the comics ), a book cover (his literary sources), or a mushroom cloud. Inspired by the writings of William Faulkner, Daniel Defoe, Gustave Flaubert, Marcel Proust, and James Joyce, Pettibon’s sophisticated, witty drawings combine image and text to explore the gamut of American popular culture.