459H x 305W x 3D cm (180 x 120 x 1.2 inches)
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail. These works epitomize the idea of perpetual movement and migration while carrying a deep personal meaning in the creative process, as the artist’s father himself, still living in Chile, mends and sends the sails to his son, living in Europe. The reversed position of the sail recalls both the shape of South America itself and the Eurocentric view that in the Southern Hemisphere, everything is “upside-down.” The stitches themselves create an illusion of an alternative political geography, and the framed-cuts impose a cartographic grid.
Enrique Ramirez’s highly politicized practice engages both personal recollections and gathered stories, questions notions of exile, displacement, loss of memory, and a changing sense of place. Growing up in Santiago, Chile, his father was a sail-maker and Ramirez’s process often returns to the sea to bolster his investigations of movement, discovery, and geo-politics. The artist describes art and filmmaking as methods to communicate the ways society moves in cycles, sometimes backward and sometimes forward, especially regarding issues of immigration, border politics, and national identity. His seductive films and installations are sites of contemplation and imagination in their depiction of boundless space and expansive landscapes.
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 ...
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...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
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...
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 Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
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...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
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...