There’s Gonna Be Sorrow

2006 - Sculpture (Sculpture)

Julio Cesar Morales

location: San Francisco, California
year born: 1966
gender: male
nationality: Mexican
home town: Tijuana, Mexico

Born in Tijuana, Mexico, San Francisco-based Julio Cesar Morales explores issues of labor, memory, surveillance technologies, and identity strategies.


Colors:



Other related works, blended automatically

Undocumented Intervention
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Julio Cesar Morales

2006

Julio Cesar Morales’s watercolor drawings, Undocumented Intervention , show a variety of surprising hiding places assumed by people trying to cross into the United States without documentation...

One Minute To Act A Title: Kim Jong Il Favorite Movies
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Mario Garcia Torres

2005

Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...

Until It Makes Sense
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Mario Garcia Torres

2004

Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...

TWO MILLION (Hong Kong Dollar)
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Kwan Sheung Chi

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One Million is a video work depicting the counting of bills...

¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)
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Mariana Castillo Deball

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Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...

Untitled (Wheelchair drawing)
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Edgar Arceneaux

2006

Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...

Useless Wonder
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Carlos Amorales

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This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

I can’t believe we are still protesting
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Wong Wai Yin

2021

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...

Mimbres pottery kill hole sequence
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Mariana Castillo Deball

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...

Memorial for intersection #2
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Amalia Pica

2013

Memorial for intersections #2 (2013) is a minimalist, black metallic structure that contains the brightly colored translucent circles, triangles, rectangles, and squares that originally were presented in Pica’s performance work A ? B ? C (2013)...

Fridge-Freezer
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Yoshua Okón

2015

Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...

Canned Laughter
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Yoshua Okón

2009

Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...

I can’t believe we are still protesting
© » KADIST

Wong Wai Yin

2021

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...

Untitled (Don’t See, Don’t Hear, Don’t Speak)
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Shilpa Gupta

2008

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...

Lift with care
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Hu Yun

2013

This research-based artwork acts as a memorial to early twentieth century European exploration of China...

LAB
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Kori Newkirk

2013

LAB (2013) conjures the body as the trace of a sooty hand appears, spectrally, on a crumpled paper towel...

Why fear the future?
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Carlos Amorales

2005

Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...

Cemetery #1
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Gabriel Orozco

2002

Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July...