Photography (Photography)

Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points. Light streams from unseen sources and projects rectangular shadows against an adjacent wall. Three-dimensional shapes become suddenly flat as the objects in Kasten’s still life are juxtaposed alongside their ghostly traces.

Installation (Installation)

In the 1980’s, while browsing Parisian fleamarkets, Barbara Bloom stumbled into an anonymous watercolor (dating to around 1960) in one of Paris’ fleamarkets, probably a study made by an interior designer for a bedroom. The artist found the image to be typically Parisian. The watercolor, framed under a mat made of cardboard, had color tests on its margin, elements that Bloom discovered when she raised it.

Film & Video (Film & Video)

Originally commissioned for the 32nd Sao Paulo Biennial, the film Estás vendo coisas (You are seeing things) depicts the subculture of Brega music, a fusion of American Hip Hop, Brazilian techno and Caribbean reggaeton that emerged in North Eastern Brazil over the last decade. Part anthropological documentary and part musical the film speaks about the realities of Brazil with its enormous social and economic tensions.

Film & Video (Film & Video)

In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects. Capitalizing and commenting on the ubiquity of homemade video, the short film replicates with banal proximity the amateur special effects that thrive on the web. This rather cliched visual trick recalls a funhouse mirror, or, perhaps more aligned with Cortright’s frame of reference, a dream-sequence cue from after-school 90s television.

Film & Video (Film & Video)

In the flash animation SpringValle_ber_girls , Petra Cortright collages together surreal scenes out of unnaturally idyllic desktop screensavers with equally unreal computer-generated women that pop in and out of the landscape. Cortright’s backgrounds are made seedy by the appearance of digitally-rendered strippers, while various layers of internet escapism collide together in an infinite loop. The dancing girls are sourced from VirtuaGirl, a software that makes footage of strippers available for download.

Photography (Photography)

Born in Uganda of Indian descent, Bhimji has lived in London after her family sought refuge from the regime of Idi Amin who compulsorily expelled all Asians from Uganda. Her recent work has been concerned with revisiting the country of her childhood and engaging with the experience of exile, political and social destruction, and deprivation. This photograph, which belongs to the series “Love”, was shot by Bhimji during her journey in Uganda in 2001, but was only edited in 2006.

Sculpture (Sculpture)

From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany. Here, Garaicoa’s interest in vernacular Cuban architecture shifts towards the European context: a series of twelve nineteenth-century French engravings have been reworked into delicate paper models. Here, the two-dimensional old-school architectural renderings have become the foundation for new hollow three-dimensional structures.

Painting (Painting)

Readymade Flea Market is part of a series of works developed by Hun Kyu Kim. While the artist’s previous work drew a parallel between capitalism’s inherent social violence and the evolution of weaponry, Hun Kyu Kim now focuses on political nihilism and how to overcome it. In this new work he uses the metaphor of 3D Graphic Space to represent our current reality.

Drawing & Print (Drawing & Print)

For the collage U. S. Treasury Nose Segalove appropriated an image of a governmental-type agent inspecting an object on a table with a magnifying glass. By inserting written comments like “not a straw,” “not a spoon,” “not a razor blade,” the artist equates the inspector with a cocaine user. In this way, with keen, deadpan humor, the artist refers to all the stereotypes and social clichés associated with drug abuse particularly in the 1970s.