35.8H x 49.6W x 49.6D inches
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain. Because individual movement through the maze echoes the movement of neurons and a larger aggregated whole, visitors can be seen to enact a model of sociality and public space that both embodies and metaphorizes social consciousness. Capote’s model shows not just the proposed structure, but features figurines as well, to illustrate the possible scale and interactivity of the final piece.
Yoan Capote’s sculptural work often resembles but alters common forms, such as shoes, ladders, and furniture. Many of Capote’s pieces deal with Cuba and its relationship to the United States, referring to economic and cultural ties. His work also has a strong erotic element, depicting desire both between the countries and embodied sexuality. This facet of Capote’s work combines with and changes the minimalist forms that his pieces often assume, subverting their spareness.
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
White Corner (2006) is a video installation, projected on two protruding perpendicular walls...
Glaze (Savana) (2005) is an assemblage of found materials: a car wheel, a tire, and a wooden plinth of the type traditionally used to display sculpture...
The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
Sign #1 , Sign #2 , Sign #3 were included in “Found Object Assembly”, Copeland’s 2009 solo show at Jack Hanley Gallery, San Francisco...
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...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
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...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Converting is a piece about the Orang Laut, often called Sea Nomads, that inhabited the Riau archipelago...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
Towhead n’Ganga, enclosed in darkness, lorded over by the sexualized folded high priestless form reflects many of Kelley’s works, in both its compositional and semantic qualities...
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...