In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry. When his rubber trees died from disease and his primarily indigenous workforce revolted, his enterprise went busts within a few short years. Ford never faulted his own planning, but instead blamed the “inhospitable” Brazilian landscape. These topographical maps present different locations related to Fordlândia’s history: a current Fordlândia satellite image of the abandoned rubber plantation built by Ford in 1928, juxtaposed with postindustrial landscapes from Detroit, Dallas, and Los Angeles, is printed on the back side of the folded mapsculpture.
Clarissa Tossin’s photographs, videos, and installations are active investigations into the workings of urban planning and labor politics. The artist draws poignant parallels among historical events, creating engaging narratives that are also often subversive. Many of her works are concerned with what could be called a topography of place. Focusing on the promises, legacies, and failings of modernity, globalism, and utopian idealism, much of her work concentrates on cultural and economic connections between the United States and Latin American countries. Tossin’s most recent artwork, Archaeology of the Present, investigates the link between Indigenous civilizations and current Los Angeles via the lenses of gender and appropriation.
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
A residency program in the blazing hot city of Honda, Colombia, inspired artist Nicolás Consuegra to consider the difficulty in understanding the needs of a distant community...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
De sino à sina (From Bell to Fate) is a six-channel sound installation by Carla Zaccagnini exploring the relationship between modern Brazil and its colonial past...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...