O Africano (1984) is a large acrylic painting on canvas, made early in the artist’s career, and directly references both Leonilson’s artistic precursors and his desire to imagine and capture what it means to be Brazilian. It is about the importance for many Brazilians of their African ethnic and cultural heritage.

Installation (Installation)

O (for various skies) by Jesse Chun is a two-channel video sculpture that decentralizes American colonial narratives about the moon through “unlanguaging”—a methodology that the artist has conceptualized for unfixing language. The project disrupts bureaucratic documents pertaining to the United States government’s lunar colonization and militarization, such as The Lunex Project of 1958 and Project Horizon of 1959, through methods of visual, semiotic, and sonic (mis)translation and abstraction. Chun redacts the found texts, transforming them into concrete poetry, while interweaving lesser known Korean folklore about the moon, such as the precolonial Korean women’s moon dance ( ganggangsullae ) and shamanistic ritual dance for ushering the departed into another world ( gildakeum ).

Textile (Textile)

Maori barkcloth making is the central artistic form in the Pacific, and still at the core of cultural expression in many Pacific countries. However, Maori barkcloth making ceased to be practiced in the nineteenth century, at the same time as the arrival of European colonists. Completed barkcloth works often represent another complex Pacific Indigenous accomplishment, the sophisticated system of celestial mapping used in the cross-Pacific navigation that led to the expansion of a vivid pan-Pacific civilisation, thriving before colonial disruption.

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.

Film & Video (Film & Video)

Antonio Ole’s Rhythm of N’gola Rhythms (1978), is a film about the struggle for Angolan political independence. It looks at the role of popular culture and labor strikes through the 40s and 50s following the band Ngola Ritmos who embarked upon a consciousness-raising mission with their pro-independence political music. Through both their clandestine activities and their music, the band is credited with aiding political mobilization take off in Angola.

Photography (Photography)

YUMA o la tierra de los amigos (YUMA, or the Land of Friends) by Carolina Caycedo is a large mural containing a series of satellite photographs mounted on acrylic. The mural contrasts and mixes multiple layers of these satellite images capturing the progressive devastation of the El Quimbo dam on the Yuma river (Magdalena), in the Department of Huila. The project was originally produced for the 8th Berlin Biennale, and developed out of the artist’s research into waterways, their political and cultural impact, and their historical development.

Sculpture (Sculpture)

Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father. Jonathan Monk bridges a conceptual art and his family privacy, and ironically ensures that there is “no difference between Sol Lewitt and my mother, he does not know more than she do not know. ” What is the status of the O-backed chair rail to the white cube?

Drawing & Print (Drawing & Print)

Wordplay was a central focus of Koller’s work, in particular the acronym U. F. O., which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U. F. O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle.

Photography (Photography)

Wordplay was a central focus of Koller’s work, in particular the acronym U. F. O, which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U. F. O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle.

Photography (Photography)

The photograph Monologic – Yo-Yo 1, 2 (U. F. O. ), (1982), shows Koller playing with a big white Yo-Yo in a drab concrete building among a group of tower blocks.

Painting (Painting)

Mojtaba was painted in 2015 as a part of the Bedroom Posters series. Bedroom Posters feature the same beautiful boys who could well be out of a set of fashion editorials. Mojtaba, Manuel, Titus, and a boy found on Tumblr are on the verge of becoming men, yet are narcissistic adolescents prone to fall into the trap of ideological extremes.

Film & Video (Film & Video)

The artist films a horse dressage session at night, in a dimly lit manège. In this video the artist recalls the importance of traditional equestrian portraits in Spanish painting and relates to the repetitive passage between the rider and the mount. This effect of repetition is accentuated by the video played in a loop and the fixed framing of the image shot from the ground, with body posture and dressage themes as a method for training and obedience.

The various distinct but connected lineages of Himalayan painting remain thriving languages employed by artists from across the region to express their unique perspective in our shared contemporary world. In Bhutan in particular, this language is prevalent and its maintenance is seen through the political prism of preserving Bhutan’s identity in the global world. That being said, o ffering by Gyempo Wangchuk presented an attempt to bring a critical dimension within the traditional Himalayan forms of expression.

Drawing & Print (Drawing & Print)

Soufiane Ababri’s desire to construct a historical family and a genealogy of queer kinships in Bedwork / Yes I AM sees him conjuring up a pantheon of gay writers and artists whose intellect has changed the course of human history and development, despite their outsider status. Figures as disparate as Michel Foucault, Glenn Ligon, Allen Ginsberg, Jean Genet, and André Gide populate Ababri’s drawing series in the artist’s signature naïf style, their homosexuality the thread that connects them. The series of over forty drawings are part of Bedwork, a larger project that Ababri began in 2015.

Film & Video (Film & Video)

New Town Ghost (2005) is one of Lim’s trio of large-scale video installations. (The other two are S. O. S—Adoptive Dissensus [2009] and The Weight of Hands [2010].) The series grew out of her interest in capturing lost memories and the collective unconscious in rapidly globalizing cities such as Seoul.

Installation (Installation)

Aqua by Fernando Palma Rodríguez is an installation formed by four gourds and one movement detector that activates them. Once put in motion, the gourds open and close hinged hands that are cut from their bodies, catalyzing a sophisticated, choreographed conversation among them. Following Indigenous notions of personhood, Palma Rodríguez grants agency to ordinary objects and therefore the ability to relate to others—humans as well as non-humans.

Sculpture (Sculpture)

Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened. The books belong to O Mundo dos Museus (The World of Museums), a collection conceived by the Brazilian designer Eugênio Hirsch in the 1970s. More than simply a catalogue of artworks, each offers the reader a promenade through a different world museum and its functioning, starting with photo reportage of the building, its urban landscape and architecture, the management and restoration of works, and visitors walking though the galleries.