Photography (Photography)

Megan and Hazel Sue at Creekmore House by Carolyn Drake is from a series of works titled Knit Club . For this project, Drake collaborated with an enigmatic group of women in Mississippi who loosely call themselves “Knit Club”. The subject matter of this photograph centers on the relationship between the girl and doll in the painting, and the woman and girl in the photograph.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Film & Video (Film & Video)

With Inner Child , Bady Dalloul continues his ongoing reflection on migration and belonging, putting in balance levantine and Japanese histories. The most recent in a series of works gathering images and sounds from the different countries the artist lived or worked in, this video is part of a multi-channel sound installation that aims to transport us into a meditative state. To do so, the artist worked with Mami Nakanishi, a trained hypnotherapist, to write a script that could reflect an internal and multilinguistic dialogue that alternates between Arabic, English, French, and Japanese.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Photography (Photography)

Mooi indie (which translates to “Beautiful Indies”) is a term used to depict the beauty of nature in the East Indies during the period of Dutch colonialism in Indonesia. The term is usually used to describe a painting, romanticising the alluring tropics through the lens of European imperialism. Later in the 1950s, the prominent Indonesian painter S. Sudjojono, who is known as one of the founding fathers of Indonesian Modern Art, publicly rejected the Mooi Indie genre as Indonesian art.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Photography (Photography)

Dialect by Felipe Romero Beltrán is a photographic series that follows a group of immigrants who have recently crossed the strait (the maritime border between Morocco and Spain) to avoid border controls. The young immigrants settle in Seville while their legal situation is either resolved or refused. Reflecting on his own status as a migrant, Beltra?n’s series of photographs documenting Morrocan immigrants is a tribute to their trajectories; a trace of their existences.

Installation (Installation)

Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015). This earlier work considers the process of reconstructing an identity of the Indian workers who arrived in the Caribbean during the post-slavery period. The work addresses the conditions of recruitment of these Indian workers, the strategies of the recruiters, how they lured them onto ships to bring them back to the plantations.

Film & Video (Film & Video)

Feet Under Fire by Lungiswa Gqunta depicts the artist’s lower legs swinging in and out of frame, above a bed of charcoal. She wears a pleated white dress, two identical white anklets, and a set of bristle brushes as shoes. Affixed to the base of each scrubbing brush is a black strap so that the brushes don’t fall off of her feet.

Film & Video (Film & Video)

In On Guard by Jeamin Cha, a security guard receives safety training, juxtaposed against his patrol of an empty building as he tries to give care instructions for his ailing mother over the phone. The film dismantles the binary oppositions between “caring” and “guarding,” two actions that parallel one another in their emphasis on attentiveness without a logical conclusion. Cha’s exploration of the relationship between these two focuses is channeled through nocturnal urban space, drawing attention to the labor that each requires.

Installation (Installation)

Qui vivra verra, Qui mourra saura is an installation by Minia Biabiany composed of the plan of a house made out of strips of salt, and a “garden” made of ceramic pieces, hanging from the ceiling and on the floor, and non woven fabric. She uses blue and red filters to alter the hues of light coming from the outside. The work focuses on the disappearance of traditional knowledge associated with the “jardin de case” outside Guadeloupean houses.

Film & Video (Film & Video)

The Moon Also Rises by Yuyan Wang comprises a one-channel video and light installation. The work is based on a 2018 initiative in China to launch three artificial moons into orbit above major cities to provide continuous daylight. Set in an oppressively illuminated environment, the images depict lethargic crowds in megacities, surrounded by glowing neon lights, and workers in LED factories performing repetitive tasks on an assembly line in a kind of trance state.

Textile (Textile)

A “mata ni pachedi” is a piece of painted textile that depicts narrative images of goddesses. Traditionally, the images would be painted onto a piece of cloth found in the temple. Also known as the “kalamkari” (a hand-painted or block-printed cotton textile), “mata ni pachedi” literally translates to “behind the mother goddess”.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Textile (Textile)

In 2011, Mounira Al Solh began a series of drawings that documented her meetings and conversations with displaced Syrian refugees in Lebanon and various European countries. The oral histories she collected are very different from those told in administrative interviews or police interviews. My specialty was to make a peasants’ haircut, but they obliged me work till midnight often (2017) is part of a series of embroideries that speaks to how personal stories in this political context create collective history.

Film & Video (Film & Video)

After the decade-long conflict (1996-2006) that ended with Nepal becoming a Federal Democratic Republic, political unrest and weak governance continued to mark the country’s future as daily life repeatedly witnessed ruptures. From accessing essentials to employment, education, compensation, legal justice, health facilities, and human rights, the people of Nepal have been forced to wait. Meanwhile by Karan Shrestha records moments of impasse as the post-conflict period dragged on.

Film & Video (Film & Video)

“Ship of Fools” is a literary term derived from Sebastian Brant’s 1949 satirical allegory of the same name. The work tells the story of a wandering vessel with 111 fools aboard; each of whom represents a social issue. The Ship of Fools Mooring at the Train Station is a two-channel video work by artist Liu Yu, concerning the community of people residing on the fringes of society at Taipei Main Station.

Photography (Photography)

In Linda, Lee & Dorsey, Louis (1988~, 2018) Marcel Pardo Ariza draws on Bay Area queer histories that have been uncovered from local archives and queer organizations, and connects them to people currently living in the Bay, where Ariza is also based. This particular portrait features a skein of arms and legs, in both color and black and white print, intimately woven together. Tender and sensual, the tangle of limbs incorporates both stereotypically feminine and masculine traits in various skin tones.

Film & Video (Film & Video)

Five Hundred Twenty-Four, a single-channel video installation by Lenka Clayton and Phillip Andrew Lewis, features singers from over twenty Cleveland-area choirs counting numbers in an iterative process: one person sings “one”, then two people sing “two”, and so forth, to 524. Each choir was filmed separately, and the artists weave together the audio while the video features each choir individually. The juxtaposition of different contexts in which singing occurs functions as an embedded sociological study of various communities throughout the region.

Sculpture (Sculpture)

The Territory is not for sale is a process of reflection and research with people, thinkers and community leaders from Usme, a rural part of Bogotá on the tenuous verge of becoming urban. As an art object and installation, it comprises multiple stacks of paper each containing the decrees of land expropriation from many different peasant farmers who are being forced to sell their lots of land back to the government. Usme lies at the southern urban-rural border strategically located next to the Páramo de Sumapaz, an enormous neo-tropical tundra ecosystem and water reserve.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

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.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

On January 7th, 2020, artist D’Angelo Lovell Williams was diagnosed with HIV. Only a handful of chosen family members knew up until the public announcement that coincided with the release of this body of work. According to the artist, “discovery” is key to this group of large photographs.

Drawing & Print (Drawing & Print)

Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago. They were Christians and pagans that were often oppressed by the majority Muslims in the Riau community and were eventually forced to convert to Islam. Zai conveyed this history in Converting through the stark contrasts of red, white, black.

Film & Video (Film & Video)

The film Sometimes It Was Beautiful by Christian Nyampeta poetically addresses the systemic conditions leading and emerging from the 1994 Rwandan genocide, which had lasting and profound effects on Rwanda and neighbouring countries like Congo. The divergent opinions of the characters, as well as suggestive gestures, settings, and marks inscribed in the landscape highlight the different approaches in addressing the slow violence linked to the enduring impact of colonialism and imperialism, the pursuit of knowledge, and the conservation of heritage, culture, and object repatriation. Structured into six chapters, the film imagines a meeting between improbable friends and interlaces dialogues, with choreography of dancers, places and objects.