60 x 40 cm
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. He captures incongruities or everyday simplicity and highlights their suggestive power. The composition and framing of these interventions specially emphasizes the object of interest and the humor of the context. Signs, architecture, styles, color schemes, offer the viewer a sense of place while remaining potentially universal. Sculptural happenings like this one – a telephone cabin or some such structure entirely covered in silver tape – point to the city’s perpetual mutations. The title conveys uselessness, failure, tension, in between states but also empowerment. According to the artist, this force is arrived at through persistent accumulation of noticed sensualities and a keen nearly amorous eye on one’s environment.
Marcelo Cidade is an artist of situations, if not a Situationist of a new age, as he drifts through city streets around the world creating actions, interventions, films, photographs or drawings. His interests lie in the possibilities of public space and its connection with the private sphere, he resists forms of constraint and moves freely within the human community and through urban environments. Questioning systems and working in the peripheries or interstices allows Cidade poetic freedom in his artistic practice and open engagement with language, art history and politics. In 2005, he wrote “To resist = to (re) exist” 2000 times in downtown São Paulo.
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...
Weekly Picks: Malaysia (16 – 22 July 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Malaysia July 16, 2018 Hua (華) Settler Imaginary in Borneo , at Malaysia Design Archive, 19 July 8pm Academic Dr Zhou Hau Liew presents ‘ Preliminary Thoughts on the Hua Settler Imaginary in Borneo: Cultural Mapping, Revolutionary Communism, and the Ideas of Chineseness ’...
In 8 Ball Surfboard (1995),Alexis Smith combines her long-term interests in California culture and conceptual assemblage...
Birender Kumar Yadav comes from Dhanbad, India, a city built on its proximity of iron ore and coal and once forested and inhabited by Indigenous people who compose the Gondwana...
Her 2015 work Orión is a black flag-like cloth with glow-in-the-dark symbols embroidered in the shape of the constellation...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
The two works in the Kadist collection, Observador Pasivo and 3600 besos por hora by Diaz are culled from a vast compilation of videos and performances for the camera...
The two works in the Kadist collection, Observador Pasivo and 3600 besos por hora by Diaz are culled from a vast compilation of videos and performances for the camera...
Ojih Odutola uses a distinctive visual style to capture members of her family, rendering them one pen stroke at a time, until their skin resembles ribbons woven into the contours of a face, neck, or hand...