Film & Video (Film & Video)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble pages of an ancient open cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of the world.

Film & Video (Film & Video)

Indigenous educator and curator Sandra Benites, of the Guarani-Ñandeva people, narrates the origin myth of the bird Urutau in her native language. This nightjar stands still on a branch all day long and, at dusk, cries a low hoot resembling a human weeping. In 2013, indigenous activist José Urutau Guajajara remained on the top of a tree for 26 hours, deprived of food and water by state forces.

Photography (Photography)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

Photography (Photography)

Lieko Shiga’s photographs appear like dreamscapes. They gain much of their visual power from the unusual interplay between light and color, and the way in which her motifs often seem to defy physical laws such as gravity. She often photographs nocturnal landscapes that are both enchanted and haunted, invoking an emotionally and psychologically complex, contemporary inner landscape, as well as the ancient relations between mysticism, spirituality, and folklore, specifically invoking Japanese traditions and beliefs, while at the same time transforming them.

Photography (Photography)

Lieko Shiga’s photographs appear like dreamscapes. They gain much of their visual power from the unusual interplay between light and color, and the way in which her motifs often seem to defy physical laws such as gravity. She often photographs nocturnal landscapes that are both enchanted and haunted, invoking an emotionally and psychologically complex, contemporary inner landscape, as well as the ancient relations between mysticism, spirituality, and folklore, specifically invoking Japanese traditions and beliefs, while at the same time transforming them.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Drawing & Print (Drawing & Print)

davi de jesus do nascimento’s earthy paintings, from the series sorvedouro , recall his memories as an essentially organic matter. Watercolor painting carries water as its foundational element and was the first technique that the artist applied to base his painting research on the river. He used to dip the brush on the prow of the boats: “I realized that the water is in deep dialogue with the flows of the river that I descend”.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Photography (Photography)

Our Grandmothers’ Gardens by Olga Grotova is based on the history of Soviet allotment gardens, which were small plots of land distributed amongst the families of factory workers to compensate for poor food supply in a country that was over-producing weapons. Beginning in the 1960s, Grotova’s great grandmother and grandmother tended an allotment garden for three decades, after their release from an all-female gulag camp for “enemies of the people”. These camps detained wives, sisters, mothers, and daughters of men executed during Stalinist repressions.

Film & Video (Film & Video)

The Dragon is the Frame by Mary Helena Clark is an elegy that is somewhat paradoxically organized as a film noir or murder mystery, one that pays direct homage to Hitchcock’s Vertigo . But the parts don’t fit, and it is only in the eventual recognition of this faux raccord that Clark’s higher purpose becomes apparent. As we hear Bernard Herrmann’s score, we see the Golden Gate Bridge, Mission Dolores, and other Vertigo locations in the present day.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Installation (Installation)

The Absolute Restoration of All Things is a collaboration by artist Miguel Fernández de Castro and anthropologist Natalia Mendoza. For this project, Fernández de Castro and Mendoza researched the 2014 court case that shut down Penmont Mining’s operations in the middle of the Sonoran desert. The lawsuit was brought to court by the “ejidatarios” (communal land holders) of El Bajío, Sonora, who claimed that their territory was illegally occupied and exploited, causing an irrevocable environmental impact on their land.

Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble the pages of an ancient cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of the world.

Photography (Photography)

In 1980, with the construction of highways in Indigenous territories, an epidemic was brought to the Yanomami region. As the Yanomami do not have first names, it was necessary to give them numbers to indicate that they had already been vaccinated and identify each one for their medical records. From this series of events, Claudia Andujar’s Marcados series was born: what was supposed to be a mere photographic record, for organizational purposes, ended up raising a big question about the “labels” given to people in the construction of societies.

Film & Video (Film & Video)

In the video Color Strip by Elsa Werth two-dimensional versions of all the national flags of the world (197 in all) are compiled into a long horizontal strip. The video is presented on a large flat-screen, approximating the size and dimensions of a national flag. As each flag slides across the screen, connections between the colors, signs, and forms of different countries and parts of the world create unexpected associations.

Film & Video (Film & Video)

Pratchaya Phinthong’s work has explored the mineral and karmic economies of Laos, a country that shares language, beliefs, and a long border with his own native region of Isaan (Northeast Thailand). The most bombed nation on earth, Laos still bears the physical and mental scars of the U. S. military’s epic aerial offensive, launched largely from bases in Isaan, during the Second Indochina War. Between 1964 and 1973 the US dropped an estimated 250 million cluster bombs on Laos.

Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble pages of an ancient open cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of 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.

Film & Video (Film & Video)

Há Terra! (There Is Land!) is a short film by Ana Vaz that picks up on the artist’s previous film A Idade da Pedra (2013), in which Vaz imagined premodernity in her native Brazil.

Film & Video (Film & Video)

Dhuwã (term used by indentured people of Natal for ‘smoke’), is a single-channel film by Sancintya Mohini Simpson that traces back to the lived experiences of indentured labourers taken from India to Natal (now KwaZulu-Natal, South Africa) to work on sugar plantations during the late 1800s and early 1900s. This often-overlooked chapter in colonial history is close to the artist, as her maternal family were contracted to a sugar plantation in Natal. Filmed originally in 16mm film, Dhuwã captures sugarcane plantations in North Queensland, initially in moments of stillness that are gradually disrupted by a crescendo of repetitive sounds and fast camera movements that culminate in the fields being engulfed by flames.

Film & Video (Film & Video)

In Escenarios (Sceneries) Maya Watanabe films forgotten wastelands through a series of 360° camera movements that highlight the dramatism and visual richness of terrain that would be otherwise forgotten. Her choice to depict these lands is a reference to the devastated geography that now grips her Peru after decades of destruction from a grueling Civil War—the second largest internal conflict in the history of Latin America. Through the videos of this post-conflict territory she alludes at once to the sombre episode in Peru’s recent history, as well as her memory of it: fragmented and contused.

Installation (Installation)

o que diriam as pedras a marte? [What would the stones say to Mars?] is a sculptural work consisting of two parts by arquivo mangue.

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.

Film & Video (Film & Video)

The point of departure for Xar – Sueño de obsidiana by Edgar Calel is a poem that the artist wrote in Maya Kaqchikel. Made in collaboration with Brazilian filmmaker Fernando Pereira dos Santos, the film was shot while in lockdown in Brazil, where Calel found himself during the first outbreak of the COVID-19 pandemic. The film shows Calel ambling around the empty Ciccillo Matarazzo Pavilion designed by Oscar Niemeyer to host the São Paulo Biennial in 1954.

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.

Film & Video (Film & Video)

La Ruta by Natalia Lassalle-Morillo follows the Panoramic Route, a now weakened infrastructure that meanders through untouched natural landscapes and off-road destinations on the island of Puerto Rico. The Panoramic Route was designed for residents and tourists to connect with the traditional center of the island, as part of a political agenda to modernize the country through infrastructure and social programs. Today, the highway is notorious for dismal road conditions, resulting in isolation between more densely populated metropolitan areas and contributing to a loss of cultural sites and practices that once took place along the Route.

Film & Video (Film & Video)

The flat, wide river holds on its surface a tour-boat of memories, as Som Supaparinya documents her Grandfather’s return via cruise to familiar territories in rural Thailand that were submerged after the Thai government installed a series of dams. An unsettling sense of trauma emerges from the absence of what is being described in My Grandpa’s Route has been Forever Blocked . Supaparinya’s juxtaposition of unceasing waterways and cruise life with a series of dams, obstinately responsible for these conditions.

Film & Video (Film & Video)

The absurd condition of human survival under environmental degradation and geonational balkanization is taken as a starting point for WA’AD by YOUNG-HAE CHANG HEAVY INDUSTRIES. The work’s premise is a confessional narrative emerging from a Palestinian astronaut on a desperate international flight mission to colonize Mars. That there is also an Israeli astronaut on the same mission plays into the complexities of the landed history of ethnic antagonism between Israel and Palestine, which has stretched on for centuries.

Film & Video (Film & Video)

Originally commissioned for documenta 14, Khvay Samnang’s two-channel video work Preah Kunlong (The way of the spirit) takes land politics, resource extraction and Indigenous Cambodian resistance as its primary concern. Created in collaboration with the classically-trained dancer and choreographer Nget Rady — who is also the performer in the video — Preah Kunlong powerfully utilizes a lexicon of gestures and movement to point toward the need for embodied forms of knowledge and understanding amidst the mechanistic frameworks of rapacious development, which are threatening not just forests and Indigenous communities in Southeast Asia, but also worldwide. More specifically, Preah Kunlong offers a proposal for the language of the body to exercise what political ecologist Nancy Lee Peluso has called “counter-mapping”, a form of “critical cartography” that has been practiced by Indigenous forest communities in Southeast Asia to strengthen claims on their traditional territories and resources by defying hegemonic mapmaking methods, which have long abetted strategies of colonial rule and resource extraction.