Painting (Painting)

Fred Wilson’s flag paintings document the 20th century history of African people, indexing the period of liberation from colonialism. As the majority of African flags were created during the 1950s and 60s, they were intended to reflect a so-called ‘modern’ aesthetic and ideology. Many African flags maintain the typical flag tropes such as stripes, stars, birds, and blocks of primary and secondary colors; green to represent the land; blue to symbolize the ocean or sky; and red to recall the violence that occured in the pursuit of liberty.

Film & Video (Film & Video)

On the first day of the Covid-19 lockdown in New York, Andrew Norman Wilson was evicted from his sublet and decided to board a $30 flight to Los Angeles that evening. From a cottage that faces the Hollywood sign, he began to dwell on an encounter he had with a woman driving alongside him on the highway, emphatically singing along to the song he was listening to through the same radio station. That song was Phil Collins’s “In the Air Tonight.” For Wilson, the uncanny synchronicity of this encounter with a stranger tuned into the same frequency resonated with the inspiration for Phil’s song, which he first heard as a teenager while getting high in a friend’s basement.

Film & Video (Film & Video)

Z = |Z/Z•Z-1 mod 2|-1: Lavender Town Syndrome by Andrew Norman Wilson is a multi-channel video that uses three different imaging technologies—a photographic lens, photorealistic ray tracing animations, and fractal ray-marching animations—to travel through three constructed environments. The work’s subtitle, Lavender Town Syndrome, is named for a conspiracy theory in which more than 200 Japanese children were driven to suicide by a particular board in the game Pokémon Red and Green for Game Boy. Many others suffered serious migraines or nosebleeds, or turned violent when their parents tried to take the game away.

Film & Video (Film & Video)

In Andrew Norman Wilson’s work Kodak the artist uses computer-generated imagery to create narratives that question the reliability of images in the age of post-production. The artist creates disturbances in typical notions of time and space to highlight the existential terror of humans trying to make sense of their memories and perception in the 21st century. On its surface, Kodak questions how improvements in digital imagery have affected the analog film industry, but it also showcases the consequences for how humans relate to their memories.

Film & Video (Film & Video)

Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke was shot in the American Southwest at Mid-century modern architectural structures that were built to house regional independent banks and have since been bought up by Chase, Bank of America, and TD Bank. The video utilizes transparency and opacity effects in multimedia software to question the perceptibility of finance. It offers a complex metaphor (toxic assets, emergency flares, house/mortgage on fire) about the financial sector and the effects of the ‘crisis’ that led to the disappearance (and the ghostly memory) of many local and regional banks.

Film & Video (Film & Video)

David is a five-minute pseudo music video that features an upbeat melodic soundtrack with a duet by the artist Guan Xiao and frequent collaborator (and KADIST collection) artist Yu Honglei. Three screens display a collection of home videos filmed and uploaded by tourists at the Galleria dell’Accademia in Florence capturing Michelangelo’s eponymous masterpiece. The mass popularity and commodification of this artwork is further exaggerated with the numerous forms that we encounter and consume the image or likeness of the sculpture in our daily lives.

Film & Video (Film & Video)

This video was filmed in the middle of the Zagreb fair which took place in the 1960s and 1970s under the rule of Tito. Tito created the fair to signify the exemplary economic exchange between the East and West. The film’s setting takes place at the Italian pavilion, where several young people are seen sitting in cars, trying to repeat sentences in English.

Photography (Photography)

David Goldblatt’s “Boksburg series” is a telling portrait of the small town that became a notorious symbol of racism in South Africa. The photographic essay negotiates the troublesome landscape of the apartheid through capturing the intimate in-between moments that are seemingly inconsequential and visually inoffensive. However, it is in this series that Goldblatt provides a candid insight into the white communities during the apartheid.

Installation (Installation)

“On April 13 a painting was lost at JFK airport while going through the security screening. On April 19 a painting was lost at CDG airport while going through the security screening. On April 20 a painting was lost at DUB airport while going through the security screening.

NFT (NFT)

On March 30, 2015, at 5:52am, David Horvitz caught his daughter, Ela Melanie, as she was being born, in the back of an Uber driving through Midtown Manhattan. He held her up in the morning light as the car drove down Park Avenue, blocks away from the Museum of Modern Art, where Zanna Gilbert, the mother, was a fellow. After arriving at the hospital, Horvitz tweeted a photo and later e-mailed his friends and family with additional images.

Photography (Photography)

In the mid to late 70s David Haxton turned to photography, and similarly to his output in film, his photographs show reverberations of his perspective as a painter. As inferred from the title—and the titles of most of his work—Haxton has a methodical, near-scientific approach to studying and documenting the effects of light. In Holes in White and Holes in Cream with?

Film & Video (Film & Video)

16 films is a selection of David Haxton’s single-screen videos, which he began producing in the 1970s as a continuation of some of the conceptual underpinnings of his earlier film installations. As the described by Haxton, “[he] became interested in in examining the nature of the medium [of film] including light, movement, and the formation of a three-dimensional illusion of space in a flat surface.” This selection of films were produced in 16mm film between 1970 and 1982 and have been digitally mastered in high definition from the original 16mm films, which are preserved by the Academy Film Archive in Los Angeles. Reminiscent of the paired back, low-fi quality of other conceptual video work from that period, Haxton abides to a certain criteria to restrict aspects of the medium: he does not do any editing, always fixes the camera onto a single position for the whole duration of the films, and he limits the actions of the performers.

Photography (Photography)

In Are You Lonely Mr. Claus? , a bottle of whiskey, a red rose, a lit cigarette, and an assembly of kitschy Christmas memorabilia (Santa’s hat, a sugar cane) are displayed side-by-side with artifacts that denote some sort of (typically Californian?) summer leisure time (sea shells, sun block and goggles).

Photography (Photography)

In Eric Goes to Jail , a coffee maker, red lipstick, a pile of cash, some exotic parakeets, a brassiere, a bow tie, and a stained napkin scribbled with a phone number constitute clues to unraveling a mystery and invite the viewer to speculate about the events of the preceding night.

Installation (Installation)

The title of the work Eridanus refers to the constellation of the river of ancient Athens that meanders across in the night sky. The constellation is visible uniquely from the Southern Hemisphere. The artist evokes a story from the past, where with the installation of modern street lamps, has resulted in the residents of Paris being disturbed by the difficulty of seeing the stars in the sky as a result of light pollution.

Film & Video (Film & Video)

Political artist, painter, writer, performer, photographer, David Wojnarowicz, who died of AIDS in 1992 in New York City, was one of the leading figures of the New York Downtown artistic scene of the 80s. His use of image, language and collage generated a new method of idea communication. The series of five videos Collaborative Film Collection made in collaboration with Marion Scemama in 1989 is emblematic of his artistic practice, it unfolds through performance, films, photographs, texts and paintings.

Film & Video (Film & Video)

Political artist, painter, writer, performer, photographer, David Wojnarowicz, who died of AIDS in 1992 in New York City, was one of the leading figures of the New York Downtown artistic scene of the 80s. His use of image, language and collage generated a new method of idea communication. The series of five videos Collaborative Film Collection made in collaboration with Marion Scemama in 1989 is emblematic of his artistic practice, it unfolds through performance, films, photographs, texts and paintings.

Film & Video (Film & Video)

Political artist, painter, writer, performer, photographer, David Wojnarowicz, was one of the leading figures of the New York Downtown artistic scene of the 1980s. His use of image, language and collage generated a new method of idea communication. The series of five videos Collaborative Film Collection made in collaboration with Marion Scemama in 1989 is emblematic of his artistic practice, it unfolds through performance, films, photographs, texts and paintings.

Film & Video (Film & Video)

Political artist, painter, writer, performer, photographer, David Wojnarowicz, who died of AIDS in 1992 in New York City, was one of the leading figures of the New York Downtown artistic scene of the 80s. His use of image, language and collage generated a new method of idea communication. The series of five videos Collaborative Film Collection made in collaboration with Marion Scemama in 1989 is emblematic of his artistic practice, it unfolds through performance, films, photographs, texts and paintings.

Film & Video (Film & Video)

Political artist, painter, writer, performer, photographer, David Wojnarowicz, who died of AIDS in 1992 in New York City, was one of the leading figures of the New York Downtown artistic scene of the 80s. His use of image, language and collage generated a new method of idea communication. The series of five videos Collaborative Film Collection made in collaboration with Marion Scemama in 1989 is emblematic of his artistic practice, it unfolds through performance, films, photographs, texts and paintings.

Drawing & Print (Drawing & Print)

Immolation I is taken from the four-part Immolation series which shows four Arab revolutionaries who publicly sacrificed themselves through self-immolation and in so doing heralded the beginning of the Arab Spring. The lugubrious drawings are made with cigarette burns, a direct reference to torture and burning stakes, even if what is depicted here can be considered the ultimate act of resistance in the form of self-destruction. The portraits were meticulously executed on large-scale fragile sheets of paper.

Film & Video (Film & Video)

The Battle of Karbala was a military engagement that took place on 10 Muharram, 61 AH (October 10 th , 680) in Karbala, situated in present day Iraq, when Hussein, the grandson of the prophet Muhammad, was killed. This battle is central to Shia Muslim belief in which Hussein’s martyrdom is commemorated each year, in a celebration called Ashura which symbolises the birth of Muslim division still at issue today between the Shia and Sunni. During Ashura , the artist worked in close collaboration with the people of Zeynebiye (referring to Hussein’s courageous sister, Zeyneb), documenting their preparations for the ceremonies, which involve a mass theatre performance and the isolated, weeping ritual at the end of the Ashura day.

Film & Video (Film & Video)

The film Limbé by Mathieu Kleyebe Abonnenc takes its inspiration and its title from a poem by the Guyanese poet Léon-Gontran Damas, one of the co-creator of the negritude movement. This Creole expression, which activates the Limbo dance through language, evokes a great sadness, linked to the death of the artist’s sister. This silent film continues Abonnenc’s collaboration with dancer and choreographer Betty Tchomanga, who played the protagonist in his film Secteur IXB (2015).

While Untitled (Shuffle) presents the same formal characteristics as the rest of Berman’s verifax collages, this constellation of specific images inside the radio’s frames—the Star of David, Hebrew characters, biblical animals—have Jewish symbolism and attest to the artist’s lasting obsession with the kabala. The piece’s sub-title, “Shuffle,” suggests the presence of chance and randomness in any given organization of elements.

Film & Video (Film & Video)

Following Bruce Nauman’s seminal performance Walking in an Exaggerated Manner Around the Perimeter of a Square (1967) – which sees the artist carefully trace a small delimited area of his studio exaggerating the movements of his hips as he places one foot in front of the other – Idir reproduces these performative gestures in Algiers, Algeria. Idir continues the artist’s previous work on ‘hittistes’, which translates as someone who spends their day with their back to the wall, the city’s unemployed and the gestures proper to them. In collaboration with cinematographer Babette Mangolte, Carole Douillard’s performance takes place across three emblematic sites within the city: Bab El Oued, Les Sablettes and Diar Es Saâda.

Photography (Photography)

A subject’s back stands before a landscape of mountains, arid and majestic, Der Wanderer 3 revisits the theme of man versus nature dear to Romantic painting and the paintings of Caspar David Friedrich in particular. “From him I returned to the theme of the character turning their backs to the viewer. I love the back.

Drawing & Print (Drawing & Print)

In 2010, Kadist Art Foundation, David Roberts Foundation and Nomas Foundation successively presented an exhibition of the work of Etienne Chambaud in collaboration with Vincent Normand: The Siren’s Stage / Le Stade des Sirènes. For this project, Etienne Chambaud made The Exchange (The Horse) . A contract was written with the lawyer Daniel McClean to establish the conditions for the exhibition and conservation of copies of the sculptures exchanged between the collections of these three foundations.

Film & Video (Film & Video)

As the video Datamosh begins to play, Yung Jake emerges out of a colorful, smoke-like background and breaks into rap. Malfunctioning green screens and pixelated digital mash-ups bleed into each other in a parody of the music video trope and specifically of the trend of ‘datamoshing’—a digital technique commonly used across this genre. The song’s lyrics distinctly borrow from the lexicon of rap, combining mentions of clubs, money and fame, with self-referential and humorous lines that literally describe the way in which the artist subverts the medium.

Drawing & Print (Drawing & Print)

Sung Hwan Kim created the drawing push against the air 01 during a rehearsal for his eponymous 2007 performance at De Apple (as part of Prix de Rome), Amsterdam, and Project Arts Centre, Dublin. For the performance, Kim interviews his frequent collaborator David Michael DiGregorio and a fellow musician, Byungjun Kwon, about love songs they have composed. The performance appears spontaneous and creates a space of vulnerability and intimacy, however in reality, the three rehearsed the performance numerous times and performed it in numerous cities.

Painting (Painting)

Both Head-Portrait with Red and Blue Background and Man with Blue Tie are classic examples of Weeks’ deftness of line, shape, and color. These two works illustrate his signature flattened style -a vast departure from figurative painting of the time- and hints of influence from modernist painters like Henri Matisse and Maynard Dixon, although with a somewhat darker tone. Both figures stare with with expressionless faces and hollow eyes.