Arpedia

Yoneda’s Japanese House (2010) series of photographs depicts buildings constructed in Taiwan during the period of Japanese occupation, between 1895 and 1945. Yoneda focuses both on the original Japanese features of the houses and on details that have been altered since the end of the occupation. The yet-to-be acknowledged history of the occupation of Taiwan and other East Asian countries by Japan during World War II is subtly disclosed in these pictures.

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The Fifth Quarter

Toby Ziegler

The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection. Various vanishing points and interior perspectives, like in another painting dated the same year called Continental Breakfast , create a complex matrix in which motifs, shadowy or geometric forms coexist to further confuse the map of this space. A disturbing yet alluring virtual reality composed of a medley of seemingly abstract designs is depicted through digital and painterly means.

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Hako

Hiraki Sawa

Drawing & Print (Drawing & Print)

Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled. Interiors of a Victorian doll’s house, a rippled seascape, a palm tree forest, and a gravel seashore are superimposed, morphing into each other. The hermetic narrative is charged with psychological and mythological aspects.

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Fire Cycles III (Subcycle 10)

Anthony McCall

This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances. These took place between 1972-74 in the UK at the Museum of Modern Art in Oxford, Colchester School of Art, in Reading and in North Weald as well as in Sweden at Fylkingen Society of Contemporary Music and Arts, Stockholm, and in the USA at the William Patterson University, Wayne, New Jersey. Many of these events were photographed by David Kilburn and Carolee Schneemann, only one in 1972 was filmed.

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Wagon Wheel

Toby Ziegler

Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure. It is based on a pornographic image by Giulio Romano (ca.1499-1546). Romano had completed Raphael’s frescos in the Vatican after the latter’s death but was not paid for the work.

Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space. Upon hitting the cold, hard gallery floor, the seemingly confused interpreter writhes slowly on the ground while reciting a few lines from the curatorial statement in a whispered moan.

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Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910)

Walead Beshty

Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram. Bold shapes, and the breaks between them, create a rhythm and compose an engaging abstract image. At the same time, the work deals with the conditions of the photograph’s manufacture.

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Office Work

Walead Beshty

Drawing & Print (Drawing & Print)

Office Work by Walead Beshty consists of a partially deconstructed desktop monitor screen, cleanly speared through its center onto a metal pole. Despite its dismantled form, the screen still functions, a simple, mountain-range desktop background clearly visible with no distortion. As with much of Beshty’s work, Office Work thematizes its own construction, in this case, through a clearly deconstructive action that preserves the technological ontology present through the monitor.

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Untitled (Map)

Charles Avery

Charles Avery has been constructing a narrative in his work since 2004. Between fantasy and reality, The Islanders is a very particular universe he has created in which to gather his disparate ideas. His practice primarily involves drawing, sculptures, texts and installations which participate in the epic and dreamlike narrative whole in the course of making.

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Work No. 299

Martin Creed

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005. His broad smile, on the verge of laughter, encourages reciprocity on behalf of the onlooker. This could be said to be a typical tactic in Creed’s work as it is so infused with humor and irony.

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Plug the well ( July / August 2003)

Keith Tyson

The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence. Philosophical problems such as the nature of causality, the roles of probability and design in human experience, and the limits and possibilities of human knowledge, animate much of his work. Language as a coded system, as a representation medium, but also as something that generates a whole variety of realities also plays a central role.

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Espadrilles

Rosalind Nashashibi

Drawing & Print (Drawing & Print)

Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations. The development of colour palettes in her painting work could be compared to the work in her films where she delicately draws an internal visual language which provides the viewer equal space to her protagonists. Possible readings of her work are left deliberately open, encouraging thought in terms of association rather than the imposition of a narrative structure.

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Untitled (Waiters dancing with Itinerants, Onomatopoeia)

Charles Avery

Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island. Replete with its own population and constantly shifting topography, Avery’s intricately conceived project amounts to an ever-expanding body of drawings, sculptures, installations and texts which evince the island. Exhibited incrementally these heterogeneous elements serve as terms within the unifying structure of the island – as multiple emissions of an imaginary state, and as a meditation on the central themes of philosophy and the problems of art-making.

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Work n. 335: THINGS

Martin Creed

Installation (Installation)

Work n. 335: THINGS

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Things that mean things and things that look like they mean things

Ryan Gander

The work consists of a work inside a work. The spectator is presented with a commissioned documentary on a flat-screen Tv on the subject of the production of the making of an artwork that doesn’t exist entitled The magic and the meaning (2008). The imaginary film, The magic and the meaning , is described only within the documentary, which follows parts of the making of the film, extracts from interviews with the writer and film maker Dan Fox and the artist and maker of the work Ryan Gander; as well as showing short slow-motion sections of the film that does not exist.

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After the Archive Collections Room

Andrew Grassie

In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces. The artist chose to depict the space before and after, thus creating the series titled “After the Archive Collections Room.” This group of paintings displays a space locked into time with its scaffolding and broom exposed, depicted just before an exhibition on a collection of archives.

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Deck Painting I

Alexandre da Cunha

His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs. Alexandre da Cunha reinvents found objects in surprising ways that combine the material characteristics of Arte Povera with the concerns and techniques of painting. Da Cunha’s work often features flags—either as a found material per se or as a constructed form—that reflect the artist’s interest in issues of nationality, governmental politics, allegiance, and culture.

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Line describing a cone

Anthony McCall

The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year. This piece, which was initially screened in independent film contexts, it soon began to be shown at art museums and ended up becoming one of the key works of the artistic movement that opened up the visual arts towards cinema. With a duration of 30 minutes, the film shows the creation of a white curve being projected onto an empty space.

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Glaze (Savana)

Alexandre da Cunha

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. It directly engages with the readymade, a subject that Alexandre de Cunha takes up throughout his practice, often inflecting it with a tropical, and South American–inspired materiality and painterly style that could potentially come across as a stereotype. Here, da Cunha transforms the component parts into a composition that highlights often-overlooked materials of artistic production and cultural mass-production.

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Laissez-Faire (Rainbow Flag)

Alexandre da Cunha

In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag. Where the printed surface of the towel originally served to enliven this commodity, here the pattern—now stretched and re-presented—suddenly refers to abstract painting’s promises of transcendence. And its crisply painted shape pulls the printed colors into the rectangularity of the canvas and, as da Cunha notes, the graphic iconicity of flags.

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Landscape for Fire

Anthony McCall

Landscape for fire is a major work by Anthony McCall. The film recounts a performance where characters in white, light up fires in a very orchestrated choreography of lights in a vast flat landscape. The performance is carefully planned – the fires are lit and geometrically aligned in a precise temporal progression.

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Untitled (Perfect Lovers + 1)

Cerith Wyn Evans

Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other. Gonzales-Torres’ original work was a personal allusion to his own partner’s increasingly debilitating HIV-related illness, which grapples with the existential tension of coexistence in the face of death. Cerith Wyn Evans’s piece takes the same concept, and adds a third clock, moving from the intimacy of a monogamous relationship to suggest a more expansive, or possibly polyamorous alternative.

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West (Flag 1) (Flag 3) (Flag 6)

Alexandre da Cunha

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. Here, da Cunha overlays thick bars of color (blue, green, and red) on photographs of the ocean at sunset with surfers in floating on the horizon. The solid colors contrast with the fading colors reflected in the sunset, and the tilted orientation suggests a familiar California beach scene.

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Destilaciones

Ximena Garrido Lecca

Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure. Copper pipes run through the perforated ceramics, evoking the design of an oil purifier. The work is a direct reference to the history of the Peruvian coastal town of Lobitos.

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Memorial for intersection #2

Amalia Pica

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).

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Eclipse

Cerith Wyn Evans

Eclipse

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Beyond the White Walls

Jeremy Deller