Film & Video (Film & Video)

Winter is a film installation of multiple tenses—shot in the recent past, depicting an unknown future, unfolding (and changing) in the present of the exhibition. Shot in the white-washed homes of New Zealand architect Ian Athfield, including his own communal compound high above Wellington harbor, the film suggests various temporal and cultural conditions of instability, hinting at concerns of global warming and nuclear accidents, pushing at the boundaries of science fiction, stripped of narrative explication and causal explanation.

Photography (Photography)

Zhou Tao spent almost two years in 2017 and 2018 in an eco-industrial park at the foot of the Kunlun Mountains in China exploring the activities of humans and other species in that particular topography between the mountain, the land and the desert. From the discovery of ancient desert villages to the billions of black chickens that will be raised under the snow-covered Kunlun Mountains, the resulting film and the photographs capture the climate and landscape, listening to the desert’s chanting and whispering, while attempting to construct a unique topology. Shot during the film production, the accompanying stunning photograph Winter North Summer South No.

Photography (Photography)

Zhou Tao spent almost two years in 2017 and 2018 in an eco-industrial park at the foot of the Kunlun Mountains in China exploring the activities of humans and other species in that particular topography between the mountain, the land and the desert. From the discovery of ancient desert villages to the billions of black chickens that will be raised under the snow-covered Kunlun Mountains, the resulting film and the photographs capture the climate and landscape, listening to the desert’s chanting and whispering, while attempting to construct a unique topology. Shot during the film production, the accompanying stunning photograph Winter North Summer South No.

Film & Video (Film & Video)

In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up. As a result, the butterflies become hyper-real and animated in appearance. The manipulated footage is presented in a video wall of nine monitors, where the butterflies flit from screen to screen, in a room bathed in vivid orange light.

Film & Video (Film & Video)

Sofía Córdova’s film dawn_chorusiii: the fruit they don’t have here / coro_del_albaiii: la fruta que no tienen aquí weaves together six California migration stories that resist dominant social narratives that flatten the experience of migrants. Though each woman’s story is based on interviews conducted by Córdova through voice memos or phone calls, the women’s lines in the film are reinterpreted and altered by the artist as a gesture that affords them opacity and relative anonymity. The opening sequence begins with four of the women looking into the camera, reciting a poem about the transition from winter to spring in Spanish and Mandarin: the birds dropping seeds they brought from afar, planting saplings that grow into trees bearing the fruit they don’t have in their new homes.

Film & Video (Film & Video)

Shot in Oliveto Lucano, a village in the south of Italy, AUTOTROFIA (meaning self-eating) by artist Anton Vidokle is a cinéma vérité style film that slides fictive characters into real situations, and vice-versa, to draw a prolonged meditation on the cycle of life, seasonal renewal, and ecological awareness. Combining fictional and non-fictional content, the film slips an interpretative script based on the writings of the painter Vassily Chekrygin, and the scientist Vladimir Vernadsky, within the context of an ancient pagan fertility ritual still practiced in the region. The film’s impressionistic plot revolves around the ecological dimensions of Russian Cosmism.

Painting (Painting)

The painting is composed of nineteenth century linen collected over five years. The pieces started out as offcuts from a large work called Fabaceae, which refers to the carob bean, an African staple found in the rainforest and tropical forests. The artist took these already dyed offcuts and dyed them further and then put them out in the sun to fade.

Drawing & Print (Drawing & Print)

The Blue Poisoning series , reveals the outcome of artist Tirdad Hashemi’s weary and depressed days in the winter of 2022, following their second migration from Paris to Berlin. The color blue expresses the feelings of sadness and loneliness felt by the artist in the frozen Berlin cold. In the drawing, lonely and tormented bodies seem to struggle to live; despite their suffering, they still hope.