Photography (Photography)

Au non de la liberté (Tiko drink Kumba drunk) is a photographic series by Zacharie Ngnogue and Chantal Edie that considers the correlation between those who hold power in Cameroon and how their actions affect the populations they rule in often compromising ways. “Tiko drink-Kumba drunk” is an adage that is commonly used in the Southwest province of Cameroon to speak of how one’s actions affect others. Civil liberties are next to non-existent in Cameroon, the law is lawless, and structured in a way that is intended to attack its citizens’ human rights.

Photography (Photography)

Au non de la liberté (Tiko drink Kumba drunk) is a photographic series by Zacharie Ngnogue and Chantal Edie that considers the correlation between those who hold power in Cameroon and how their actions affect the populations they rule in often compromising ways. “Tiko drink-Kumba drunk” is an adage that is commonly used in the Southwest province of Cameroon to speak of how one’s actions affect others. Civil liberties are next to non-existent in Cameroon, the law is lawless, and structured in a way that is intended to attack its citizens’ human rights.

Photography (Photography)

Au non de la liberté (Tiko drink Kumba drunk) is a photographic series by Zacharie Ngnogue and Chantal Edie that considers the correlation between those who hold power in Cameroon and how their actions affect the populations they rule in often compromising ways. “Tiko drink-Kumba drunk” is an adage that is commonly used in the Southwest province of Cameroon to speak of how one’s actions affect others. Civil liberties are next to non-existent in Cameroon, the law is lawless, and structured in a way that is intended to attack its citizens’ human rights.

Drawing & Print (Drawing & Print)

BF15 is a preparatory study for the collective’s intervention at the BF15 gallery in Mexico, near Monterrey. It includes a photograph, a collage, sketches and notes. The intervention consists in the seamless extension of the wall of the BF15 gallery beyond the property boundaries, invading the sidewalk and the street, entering public space.

Performance (Performance)

This work needs to be considered in relation to one of his performances during which people were made to queue in front of the Kunsthalle of Frankfurt in 2003 (Tate Collection). In this instance Ondak collected images of people queuing in front of all sorts of buildings in various newspapers. He then inserted these in a Slovakian newspaper without trying to give any coherence with the information in the text on the same page.

Film & Video (Film & Video)

For many years, Nina Könnemann has placed a camera before a billboard situated in the suburb Neukoln in Berlin. The silent film that exposes the both banal and paradoxical passages of time and space of the passers by highlights the transformation of public space. The surface of exhibition—the billboard—becomes a wall behind which the fascination of the artwork concentrates.

Film & Video (Film & Video)

In the performance video Vitrina , María Teresa Hincapié stood inside a storefront window in downtown Bogota, unannounced, for eight hours a day, wearing a uniform and initially carrying out cleaning chores. As the day and passers went by, the routine became more playful: she would send kisses to bus drivers on the busy Avenida Jiménez who would return them, use the newspaper with which she was shining the glass to flirtatiously hide and engage with an improvised audience or draw the shape of her body with soap and a sponge. She would interrupt these chores to carry out other ‘feminine’ activities, like brushing her hair or applying make-up, only to return to frantically cleaning the transparent surface that separated her from the public.

Photography (Photography)

San Francisco, Moscone Center is a silver gelatin print from the series American Surveillance , a ten-year-long project where Richard Gordon photographed surveillance cameras across USA. In the image’s foreground we see the silhouette of a man, darkened and in contrast to the bright streetscape unfolding behind him. To the left, an American flag flutters in the wind, saluting the skyscrapers—among them the iconic architecture of the San Francisco Museum of Modern Art.

Photography (Photography)

Washington D. C. Constitution Ave. is a silver gelatin print from the series American Surveillance , a ten-year-long project where Richard Gordon photographed surveillance cameras across USA. In the image, a woman and a child walk along Constitutional Avenue as a surveillance camera on the street post directs its gaze towards them. The otherwise quiet image then becomes an exercise of resistance: together with the other images from the series, Gordon’s photograph documents the changes that have taken place in architecture, civic life, especially in a post 9/11 experience of public space.

Film & Video (Film & Video)

“A man wanders near the windows of a gallery, situated adjacent to the street. He occasionally gazes through windows into the gallery but never enters.” Passersby are numerous since these windows are by a tram stop on a busy street. It is surprising to note how few of them take any notice of this man peering repeatedly through the slightly tinted glass into an empty meeting room with no distinctive signs to be seen.

Photography (Photography)

Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light. The architect’s longtime studio and residence, which he built in Los Angeles in 1922, exemplifies this philosophy, and has since become an influential part of the modernist architectural canon. In Untitled (Schindler House #01) (2007), Luisa Lambri describes Schindler’s studio by capturing its aftereffects—the play of light and shadow cast through branches onto a surface.

Photography (Photography)

Capture is a photographic series by Paolo Cirio in which the artist sourced 1000 public images of police officers’ faces and processed them with facial recognition technology. The original photographs were taken during protests in France, Cirio collected these images and created an online platform containing a database of the 4000 police faces that the AI program isolated. The artist crowdsourced their identification by name and then publicly exposed the officers by printing their headshots and posting them throughout Paris.

Drawing & Print (Drawing & Print)

Sung Hwan Kim created the drawing push against the air 01 during a rehearsal for his eponymous 2007 performance at De Apple (as part of Prix de Rome), Amsterdam, and Project Arts Centre, Dublin. For the performance, Kim interviews his frequent collaborator David Michael DiGregorio and a fellow musician, Byungjun Kwon, about love songs they have composed. The performance appears spontaneous and creates a space of vulnerability and intimacy, however in reality, the three rehearsed the performance numerous times and performed it in numerous cities.

Installation (Installation)

“On April 13 a painting was lost at JFK airport while going through the security screening. On April 19 a painting was lost at CDG airport while going through the security screening. On April 20 a painting was lost at DUB airport while going through the security screening.

Film & Video (Film & Video)

Lightning 01 (2014) parodies our contemporary relationship to screen-based media and the absurdity of aestheticizing boredom. The video depicts a computer user aimlessly taking photos of himself, seemingly numb to external stimuli or intervention. Set on a loop, the video produces the illusion of an endless state of bored selfies and disaffected gazes.

Photography (Photography)

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns.

Photography (Photography)

Custom-built for a silent film star in 1934 in Santa Monica, the Sten-Frenke House is an idiosyncratic icon. Designed by the architect Richard Neutra, its gray glass, white expanses, and simple forms exude austerity. Luisa Lambri’s photograph Untitled (Sten-Frenke House #04) (2007)recalls the unembellished elegance of the structure while also alluding to modernist painting; the image is less a picture than an abstract expanse that conveys its own flatness.

Installation (Installation)

Peter Friedl’s projects place aesthetic questions within an expanded field that takes into account the social, political and philosophical context. This textile piece quotes and diverts a flag with a red background and the central star of the Kurdistan National Liberation Front (ERNK, a military organization linked to PKK, founded in 1985 and disbanded in 2000), and not the national flag of Kurdistan. The artist became interested as from 1994, when the town of Lice was destroyed by the Turkish army and the PKK was expelled from Germany.