22 x 30 in. / 8.66 x 11.81 cm
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.
Mumbai-based Shilpa Gupta’s practice crosses disciplines and media to include interactive videos, websites, objects, photographs, sound, and public performances. Probing and examining themes such as desire, religion, tradition, gender, global capitalism, social injustice, security, borders, and power, Gupta actively engages herself with the political and cultural world around her.
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...