Installation (Installation)

Spring Line is a piece shown for the first time in his solo exhibition at the Institut d’Art Contemporain in Villeurbanne in 2007. It pays homage to the work of the famous conceptual artist Sol LeWitt, who had died on 8 April that year. Scanlan aims to guide the spectator to gage the level of influence Sol LeWitt has had on his work with regards the conversion of potential ideas into sculpture.

Photography (Photography)

John Houck’s brown- , sienna- and golden-toned composition, Untitled #185, 65, 535 combinations of a 2×2 grid, 16 colors , features densely packed lines of color moving diagonally across the creased page. Houck uses a series of self-designed software programs to create these intricate grids of color and line, riffing off of Sol LeWitt, perhaps, in a digital age. Houck takes the output of these programs and then manipulates them manually, creasing the pages of the index print, and then re-photographing them.

Sculpture (Sculpture)

Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father. Jonathan Monk bridges a conceptual art and his family privacy, and ironically ensures that there is “no difference between Sol Lewitt and my mother, he does not know more than she do not know. ” What is the status of the O-backed chair rail to the white cube?

Sculpture (Sculpture)

Happy Birthday

Sculpture (Sculpture)

Something contained removed

Drawing & Print (Drawing & Print)

Meeting #100 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organize meetings somewhere in the world. The audience is given the details of a meeting—the place, date and time—and nothing more.

Textile (Textile)

Cosmic Tautology I and II are two textile pieces representative of Santiago Borja’s practice and long-standing interest in disrupting universalist assumptions of minimalism by connecting them with other, non-Western or esoteric references. They were hand-woven in Teotitlán del Valle, Oaxaca, Mexico, and are composed of nine squares, the middle one left unwoven. Their composition is based on Red Square, White Letters (1962) by Sol Lewit, but they also take cues from works like Black Series II by Frank Stella.

Sculpture (Sculpture)

Like with other works of the artist, with First Piano Katinka Bock tried to go against the rules of use of clay, that is, by forcing the material to the extreme, and transferring the resulting elements into a cubic shaped volume. Thus, the resulting accumulated strata brings back the material to its very essence, the earth.

Film & Video (Film & Video)

«I will put two heavy stones in my jacket pockets that way my body will sink deep like a deflated truck tire, no one will notice», this excerpt from “Quay West” by Koltès could echo the story depicted by Katinka Bock: the shipwreck of a small boat full of stones. The grain of the image and the framing evoke distant times, maybe the origins of cinema and the footage of the Lumière brothers. The operator’s gaze creates a landscape undetermined in space and time.

Photography (Photography)

This photograph is part of the series titled “Iris Tingitana project” (2007) focusing on the disappearance of the iris. If Yto Barrada was initially interested in the architectural heritage of the city, today the core of her research focuses on risks around landscape and its heritage. The iris, found bordering the city, carries the name of the city, and is an emblem of Tangier.

Photography (Photography)

In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe. They become like abstract paintings that recall Modernist formal experimentation. They are somehow symptomatic of the circulation of goods and people that is made to sound so abstract.