NFT (NFT)

For his project Book of Veles artist Jonas Bendiksen travelled to the small city of Veles in North Macedonia, inspired by a series of press reports starting in 2016, that revealed Veles as a major source of the fake news stories flooding Facebook and other social media sites celebrating Donald Trump and denigrating Hillary Clinton. Scores of young people in the impoverished city had discovered that they could make a decent living by fabricating and circulating stories online. Originally presented as a book, Bendiksen’s haunting images show the city of Veles and its inhabitants.

Sculpture (Sculpture)

Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist. Both of those interests feed deeply into his artistic practice, which ranges from workshops, dialogues, and exchanges to environments, drawings, and sculpture. Metaphors of the presence or conversations at the speed of light (2012) is a sculpture of a lightbulb that the artist altered.

Photography (Photography)

In Linda, Lee & Dorsey, Louis (1988~, 2018) Marcel Pardo Ariza draws on Bay Area queer histories that have been uncovered from local archives and queer organizations, and connects them to people currently living in the Bay, where Ariza is also based. This particular portrait features a skein of arms and legs, in both color and black and white print, intimately woven together. Tender and sensual, the tangle of limbs incorporates both stereotypically feminine and masculine traits in various skin tones.

Installation (Installation)

A residency program in the blazing hot city of Honda, Colombia, inspired artist Nicolás Consuegra to consider the difficulty in understanding the needs of a distant community. An important town during the colonial era as the main port on the Magdalena River, Honda is presently rife with poverty, unemployment, and environmental deterioration. Here he produced the work Nadie sabe de la sed con que otro bebe (No one knows the thirst with which another drinks) , a variable arrangement of cut glasses in front of a mirror so that they appear whole.

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)

In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision. As a metaphor for this process, he looks to the afterlife of the image as evidenced in signs. When a company goes out of business or moves, their sign often lingers and slowly fades creating a ghosted image of their sojourn.

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.

Sculpture (Sculpture)

Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist. Consuegra’s mirrored Colombia is similar to an earlier version, made to be show opposite a mirror of the United States. Whether reflecting his two homes within one another (Consuegra studied in the US and has made several works about this experience of living in exile from his homeland), or simply reflecting its surroundings, Colombia is a simple yet evocative work about the identity of a nation, and the things that we project—really and metaphorically—onto its form.

Photography (Photography)

Part of Tim Lee’s practice involves envisioning himself reenacting key moments from iconic peoples’ lives. In the photograph Untitled (Stanley Kubrick, 1945) (2010), Lee re-creates a self-portrait by Stanley Kubrick from 1945. Kubrick shot the original photograph in the mirror when he was just beginning his career as a photojournalist.

Installation (Installation)

Nicolás Bacal uses everyday materials to evoke systems in his sculptures and installations. He often employs and alters clocks, using them as metaphors for human relationships. Light Years (2008) consists of 12 measuring tapes of different lengths, radiating out elliptically from a central mounting point on the wall.

Photography (Photography)

Borrowed Faces is a photo novel published in 2019. These framed colour photographs are selected scenes from the novel. They mimic the aesthetic of a dated comic strip but instead contain vibrantly coloured, digital photos; here the ‘live’ element of the photographic medium meets the theatrics of the graphic novel.

Film & Video (Film & Video)

The lecture performance, Screen Green takes the telecast of a speech made by the Prime Minister of Singapore, Lee Hsien Loong, during which he was pictured against a homogenous green backdrop commonly used for visual effects or post-production in film, as a point of departure. Taking the lush, botanical landscape of Singapore, administered through a series of governmental gardening efforts, Ho offers a speculative narrative through the metaphor of a space of future possibilities that are simultaneously a method to limit and modulate its citizens.

Film & Video (Film & Video)

Lyrics 1, 2, 3 is part of siren eun young jung Yeoseong Gukgeuk Project (2008–). The work closely follows first and second generations of Yeoseong Gukgeuk actresses, who later became an important source of inspiration for the artist. Formally, this genre of theater draws from Westernized aspects of traditional Korean music performance, as well as from adaptations of pansori , a Korean genre of musical storytelling, to create a staged version of traditional Korean opera.

Drawing & Print (Drawing & Print)

Sara Cwynar’s composite photographs of found objects and images court feelings of time passing. Using studio sets, collage, and re-photography, she produces intricate tableaux that draw from magazine advertisements, postcards, or catalogs. Cwynar is interested in how design and popular images work on our psyches, in how their visual strategies infiltrate our consciousness.

Film & Video (Film & Video)

Emmanuel van der Auwera visited Miami at the end of 2017 and was working on a project relating to school shootings. Two months later, on 14 February 2018, 19 year old Nicolas Cruz killed 17 people and injured 17 others in a shooting at the Marjory Stoneman Douglas High School in Parkland, Florida. Van de Auwera began to follow videos uploaded to the Periscope App, a live broadcasting channel that closed in March 2021, downloading them and creating a bank of data that would otherwise disappear, as material on Periscope was self-deleting after a short period of time.

Film & Video (Film & Video)

A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China. The artist asked his parents to perform a flags-raising-lowering ceremony on their home’s cloths drying rack, with the HKSAR regional flag, and the flags of PRC and The UK. Artist Lee Kit hand-painted the HKSAR regional flag following the detail instructions in “The State’s Standards of The People’s Republic of China, GB16689-1996”, issued by The State Authority of Technical Monitoring.

Textile (Textile)

The Korean title for U: Repair the cowshed after losing the cow = Too late is —a famous Korean proverb meaning “you are doing something when you are already late to do it”. This work by Seulgi Lee is a nubi (traditional Korean quilt) blanket project that shows Korean proverbs expressed as geometric shapes. Nubi blankets were used as single sheet summer blankets in Korean households until the 1980s.

Installation (Installation)

(Untitled) Nimoa and Me: Kiriwina Notations by Newell Harry brings together a litany of contemporary politics—mobilization around enduring racism, the legacies of Indigenous and independence struggle, and the prospects of global solidarity against neocolonialism and social injustice. Yet what makes his stance unique is his idiosyncratic ‘anarchival’ method, developed over twenty years of living, working, and gathering in and around the South Pacific. From the resulting miscellany, Harry elicits thought-provoking new connections between collected artefacts; photographs and impressions authored by himself; and items drawn from journalist, activist, and documentary archives.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Sculpture (Sculpture)

The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle. And though his works share a similar sensibility to Claes Oldenburg’s oversized sculptures from everyday objects, Choi draws from his immediate surroundings and life experience. Public sculptures with a flower theme are often used to decorate the rapidly urbanized cities in Asia, which are constructed with concrete and steel materials.

Installation (Installation)

The work Tender is composed of several elements: a porcelain spoon, a florescent lamp box, a small portable night light, a shelf with nearly invisible embossments of flowers and a jar of jam resting on a black plastic tray. The cardboard painting is made of acrylic and inkjet ink on which we can read Tender . Tender is a brand of extra soft tissue paper, it refers to an intimate comfort but results in a sentiment of melancholy and absence.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.

Drawing & Print (Drawing & Print)

In Studies of Chinese New Villages II Gan Chin Lee’s realism appears in the format of a fieldwork notebook; capturing present-day surroundings while unpacking their historical memory. The watercolor images on each note paper document the artist’s visits to various Chinese ‘New Villages’ in Malaysia. The studies, some in color and others in grey-scale, from this series include architectural ruins, portraits of people and animals, and groups of people in protest.