War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist. In their monochrome simplicity — some white, some black, one red — they bring to mind Rauschenberg’s minimalist paintings from the 50’s; the shape and repetitive figuration bring to mind Jasper John’s later flag paintings. Modifications to the blank leader – holes, letters, random dots and dashes – were created by the machinations of previous Ancalmo pieces.

Painting (Painting)

El Hadji Sy is an important figure in the critical movement that followed Lépold Sedar Senghor´s Négritude ideology. Senghor supported El Hadji’s work from the start and continued to follow it, but they came together again in another cultural policy initiative, inaugurated by Senghor: the famous Villages des Arts. The village is a co-operative for artists in Dakar where each one has a professional studio.

Installation (Installation)

Mandy El Sayegh grew up in a medicalized environment, surrounded by anatomy, biology and psychology publications; these books inspire the figures that appear throughout her work. The work White Grounds 12 offers a bird’s eye view of a skull open from the front, belonging to a patient diagnosed with dementia who is suffering from self-inflicted wounds. White Grounds 10 depicts the body of an injured worker in China.

Film & Video (Film & Video)

El Contorno (Outlines) is a three-channel video installation that features five actors performing a script—at times individually and at times in unison—choreographically moving across an indistinct urban space. As the view shifts from one performer to another we notice that they are all in close proximity and that the feed from all three channels was simultaneously filmed. The scene unravels with actors moving in and out of view in an elaborate negotiation between their bodies and the camera’s movements.

Installation (Installation)

Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement. Each waveform represents a syllable of the sentence “Primero estaba el mar.” This sentence is the first verse of the Kogui poem of creation. For the Koguis, an indigenous community from the Sierra Nevada de Santa Marta on the Colombian Caribbean coast, water was the absolute presence before the creation of the universe.

Drawing & Print (Drawing & Print)

La Masacre de el Aro (The Massacre of El Aro) by Jorge Julián Aristizábal refers to a massacre in Colombia which occurred on October 22, 1997 in the municipality of Ituango, Department of Antioquia. On this day, 15 individuals accused of being leftist supporters of FARC were massacred by paramilitary groups. Perpetrators also raped women, burned down 43 houses, stole cattle and forcibly displaced 900 people.

Sculpture (Sculpture)

El neon de los narquitectos

Film & Video (Film & Video)

dawn chorus ii: el niagara en bicicleta is a work produced in Sofía Córdova native Puerto Rico and was largely shaped by the financial crisis, the islands’ histories under colonial rule and most recently, the climate-change related natural disasters which have affected the island. The latest of which, hurricane Maria, and the subsequent political mishandling of the situation, gave the project its ending. Prior to the hurricane, this work also engaged in conversation with blackness and anti-blackness in the Caribbean, syncretic religion and dance music as modes of survival and liberation, and fantasy and science-fictional strategies as means to break out of our current arc of history.

Film & Video (Film & Video)

El Salto (The Jump/The Waterfall) by Juan Covelli depicts the Salto de Tequendama, a waterfall located on the outskirts of southwest Bogota. During the 19th and 20th centuries, the waterfall served as a national symbol that captured both the singularity of its geographical reference point, as well as the romantic experience of nature and immensity. The video installation arises from a detailed archive research into historic representations of Colombian landscape and reflection on their role in the present-day imaginary of the country and the wider world.

Installation (Installation)

Map of the Universe from El Cerro continues Chemi Rosado-Seijo’s long-term engagement with the community of El Cerro , a rural, working-class community living in the mountains of Naranjito, Puerto Rico. The project was initiated in 2002 by painting the exteriors of residents’ homes different shades of green, paying homage to the way the community has been built in harmony with the topography of the mountains where it stands. Through negotiation and collaboration with community leaders, volunteers, students and residents, over 100 homes have been painted.

Painting (Painting)

El mar y sus múltiples afluentes (The Sea and its Multiple Tributaries) builds on the concept of trafficking that Adriana Bustos has been exploring over the last decade. The piece represents an apocryphal river and illustrates the routes of the slave trade between the coasts of Africa, Europe, and South America, departing from the Congo River (once called Zaira), and arriving at Río de la Plata, the main river in Buenos Aires that divides Argentina from Uruguay. The work collapses time and space, placing the coasts of colonial empires across the colonies where slaves were taken.

Sculpture (Sculpture)

The Territory is not for sale is a process of reflection and research with people, thinkers and community leaders from Usme, a rural part of Bogotá on the tenuous verge of becoming urban. As an art object and installation, it comprises multiple stacks of paper each containing the decrees of land expropriation from many different peasant farmers who are being forced to sell their lots of land back to the government. Usme lies at the southern urban-rural border strategically located next to the Páramo de Sumapaz, an enormous neo-tropical tundra ecosystem and water reserve.

Sculpture (Sculpture)

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. The sculpture, employing the technique of traditional Atzompa pottery originating from Oaxaca, Mexico, is an examination of the way in which archaeological heritage is remembered in the earthenware made by Atzompa potters today. Accompanied by the publication ‘Ixiptla Vol.

Film & Video (Film & Video)

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance. Central in his work is the construction and alteration of what he calls his Liquid Archive, a collection of images, narratives, drawings, shapes, and ideas that he uses to construct his unique visual language—a critical and stimulating space for fantasy, reality, and the blurring of the two. Amorales creates tensions between revealing and hiding the personal and the universal in his often-ambiguous and fluid constructions.

Sculpture (Sculpture)

El gran pacto de Chile (The Great Pact) and La balserita de Puerto Gala (The Raft) were part of the “Museo Futuro”, an exhibition in which the artist presented nine miniature dioramas staging fragments of Chile’s history, from its colonial invasions to the present. Through the episodes he chose to depict, the artist focused on historical narratives, the way the story is told, and the supposed irrefutability of historical facts. Museo Futuro (“Future Museum”) stands within a tradition of artists who re-read history and offer their interpretation of it through the distopic lens of the museum display.

Photography (Photography)

“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948. Like all studio photographers his subjects came to him.

Photography (Photography)

Gabriel Borba Filho was aware of what was happening on the other side of the Atlantic, and Untitled (Nos) is linked to both the social and political climates in Brazil and Spain during the Franco period. The title Nos (Us) echoes this sharing of a situation of misfortune. He was particularly touched by the execution of Salvador Puig Antich, to whom this work pays homage, and also by the political assassination of one of his best friends.

Photography (Photography)

“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal. Placing one’s hand on a stable surface helps position the shoulders and the general posture of the body.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them. I used to scratch out the emulsion where the pupil is, and draw another one right next to it.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“In the 1980s I started using coloured paper backdrops, one of which was yellow. You can see they never reached the floor. I used them for colour and black-and-white photography.” Hashem El Madani.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“While taking the picture it was challenging to make the boys sit properly without moving. Sometimes a member of the family whould hide behind, holding the child.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Drawing & Print (Drawing & Print)

Palabrarma (obreros palabreando) by Cecilia Vicuña is a series of works in which the artist blends poetry, political commentary and graphic design. The title itself is a portmanteau that unites the words palabra (word) and arma (weapon) that speaks literally of the power of words through their poetic potential. A poet herself, Vicuña developed a long series of palabrarmas on diverse media that were often used as slogans in political demonstrations.

Drawing & Print (Drawing & Print)

Like many of Dr. Lakra’s works, Cortes y la malinche is a drawing done on a found vintage magazine page. The text at the bottom of the page, “reclinandose inocentemente sobre el regazo de Hernan-Cortés,” translates to, “reclining innocently in the lap of Hernan Cortés,” and refers to the Spanish conquistador who brought down the Aztec empire. Malinche was a native Mexican who served both as Cortés’s translator in both the Mayan and Aztec languages, as well as his lover.

Photography (Photography)

Hashem El Madani, a studio photographer in Saida, began working in 1948. Like all studio photographers his subjects came to him. The studio was a constant flux of visitors.

Photography (Photography)

Rocket Society refers to a space project led by a group of Armenian researchers at the beginning of the 1960s. They created the first Middle Eastern rocket and carried out a dozen launches. Today, there is a kind of amnesia related to this space program while at that time the newspapers would talk about it frequently; a postal stamp was even issued for the occasion.

Installation (Installation)

Produced for the Prix Marcel Duchamp and presented at the Centre Pompidou in October 2017, the installation Unconformities is comprised of photographs, archaeological drawings, and narratives, based on the analysis of core samples from different sites in Beirut, Paris and Athens. The work questions how, at a time when traces and memories no longer exist, and the earth remains the only witness of our past, history is produced, and how the stories of our civilization are written and told. In each location, the artists collected soil samples, which they asked experts to analyze before creating a series of narrations and coded drawings.

Painting (Painting)

As he investigates the forms that slavery took through different events that occurred during the sixteenth century in the Huasteca region of Mexico, Noé Martínez tells, in a non-linear narrative, the history of human trafficking in Relación de tráfico de personas 1525-1533 I (Study of Trafficking of Persons 1525–1533 I) . Both the departure of Huasteco Indians from the Americas, and the arrival of Africans from Cape Verde, Angola, Congo and Mozambique unravel in Martinez work as a story that has remained sealed in the colonial archives, and that continues under different guises in contemporary times. Relación de tráfico de personas 1525-1533 I is part of a series made of interventions in tanned leathers that refer to the exchange of human beings for pack animals and cattle in the Caribbean Sea.