Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo. Tsai placed live hermit crabs and shells in a sandy enclosure at the site, writing fragments of The One China policy and the Taiwanese Independence statements on each shell. As the hermit crabs moved and swapped shells, they formed new connections between the statements. Tsai calls attention to the ephemerality of political declarations and makes the movements of animals into metaphors for the changing course of history.
Taiwanese multimedia artist Charwai Tsai often explores geographical, social, and spiritual concerns through performative and ephemeral artworks. She chooses materials that decompose or change to contemplate notions of impermanence and transience. Tsai is also editor-in-chief of “Lovely Daze”, a bi-annual journal of artists’ writings and artworks curated around specific themes for each issue.
The Italian photographer Tina Modotti is known for her documentation of the mural movement in Mexico...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
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 Italian photographer Tina Modotti is known for her documentation of the mural movement in Mexico...
Modotti’s Diego Rivera Mural: Billionaires Club; Ministry of Education, Mexico D...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
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 ...
Five Hundred Twenty-Four, a single-channel video installation by Lenka Clayton and Phillip Andrew Lewis, features singers from over twenty Cleveland-area choirs counting numbers in an iterative process: one person sings “one”, then two people sing “two”, and so forth, to 524...
Podcast 65: M1 CONTACT Contemporary Dance Festival (Part 1) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Photo: Crispian Chan September 12, 2019 Duration: 20 min Podcast host Chan Sze-Wei and guest Melissa Quek discuss works they saw at the recent M1 CONTACT Contemporary Dance Festival, specifically at the platforms DiverCity, Off Stage and M1 Open Stage...
Poetry Light Stool evokes the spirit of Fluxus, the intermedia movement that encouraged artmaking to be simple, fun, and address everyday life...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
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...
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...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
Following her family’s political exile to Australia in 1990, Havini began to document her journey’s home to the north of Buka Island, in the Autonomous Region of Bougainville...