Sculpture (Sculpture)

Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall. More than a simple reference to the sport, the work has the disconcerting effect of creating a danger zone in the gallery space. The reference to direct aggression or violence is reinforced by the piece’s rapid pace.

Film & Video (Film & Video)

Silberhöhe , directed at Halle, located in the former GDR (German Democratic Republic), is the name of a neighborhood on the outskirts of the city, which was built in the 70’s and could accommodate more 40,000 people. The opening of the film presents us with a dramatic process that transforms the documentary image. The lack of human presence makes creates a strange atmosphere in the film.

Photography (Photography)

Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances. Not to be mistaken as mere portraiture, however, Simmons’ works are explorations of the Black body in relation to landscape and other dimensions of non-linear space and time. Concealing and flattening her subjects with costumes and collage-like, abstract pictorial devices, the artist arranges archival photographs, printed textiles, and anthropological artifacts in configurations that highlight the power of visual culture to shape contemporary understandings of the self.

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.

Film & Video (Film & Video)

Berlin Remake ( 2005) combines extracts of East German films with images filmed by the artist in Berlin. While staying in Berlin, the artist found the locations where the official films were made and she juxtaposes the two in a synchronised double projection. Therefore on one screen there is Berlin between 1945 and 1989 and on the other Berlin in 2004.

Film & Video (Film & Video)

In 2012, former Guatemalan President José Efran Ros Montt was charged with genocide and crimes against humanity; Regina José Galindo’s video Tierra is a chilling reimagining of the atrocities recounted during his trial. Tierra depicts the artist standing naked in a lush field that a bulldozer has broken up. The video references an incident in which innocent Guatemalans were brutally murdered and buried in a mass grave.

Painting (Painting)

Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code. The geometric pattern that composes each acrylic-on-panel painting is determined by a preordained ratio of 2 to 3. But even though a formulaic system determines the image’s structure, its surface is full of painterly effects.

Drawing & Print (Drawing & Print)

In his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal. In The Individual Is a Mirage (2010), Beltrán offers up a graphic chart mapping the myth of individual identity.

Film & Video (Film & Video)

Ghost Games , follows the enigmatic dance of crabs “steered” by a flashlight in the night of darkness of a South American beach. The video produces a surreal impression, typical of Sala’s work, with no plot in the classical sense, no story being told. Like in Blindfold (2002), in which a sunrise is reflected in urban billboards, and Time After Time (2001), in which the figure of a horse emerges from darkness lit by the headlights of an automobile, Sala likes to explore the phenomenon of light and its effects; In Ghost Games , he uses the threatening reflection of the flash light through the darkness of the beach.

Film & Video (Film & Video)

Die Siedlung is a filmic documentary about the recent shift in housing developments in Leipzig-Grünau in former East Germany and its consequences on some inhabitants. It complements von Wedemeyer slightly earlier and more artistic film Silberhöhe (2003) which decried imposed Modernist living model. In Die Siedlung , a voiceover describes and criticizes the different sites on view while the camera moves slowly past a vast abandoned 1930s Nazi army barracks which has yet to be converted or demolished, the building site and wastelands for the new private single family housing area, a constructed pond and finally the 1960s or 70s communal blocks of flats.

Film & Video (Film & Video)

Clemens von Wedemeyer has imagined a trip back in time at Breitenau. Starting with events that happened there from 1933 to 1945, the German artist has composed three stories that reach the years of the women’s reformatory, in the 1970s, with a different protagonist for each era. A work that attempts to bring out the “pathology” of the site, as the artist tells Bert Rebhandl, and at the same time its “unforgettable” status as a black hole in the history of Germany, that sucked up innocent lives for almost a century.

Film & Video (Film & Video)

Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time. Shot from an aerial vantage, the camera tracks the daily commute on a small stretch of concrete highway. The camera films the traffic below in short five-second excerpts before blacking out; time begins to collapse as the video shifts between scene, and the hours compress into minutes as daylight quickly turns into night.

Photography (Photography)

Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook. Donnelly’s interest in the waveform–visually, aurally, and perceptually–is made manifest in works across multiple media, including photography, drawing, video, sculpture, and performance.

Film & Video (Film & Video)

In the video Rebels of the Dance , two boys are filmed dancing to traditional Kurdish songs inside of the confined space of an ATM. Shy, proud and joyful, the two boys appear to be influenced by a third person – the artist and his camera. Their play of eyes creates an atmosphere reminding one of the close scrutiny and state control of the Kurdish population.

Film & Video (Film & Video)

Eight opens with a close up of a painting by Hubert Robert of the Chateau de Chamarande where the film was shot. This work acts as a key to the unfolding film. In Eight , the camera tracks back and forth, proceeding from room to room, closing in on each motif, lingering and then passing on without ‘comment’, as a surrogate for the spectator’s gaze.

Film & Video (Film & Video)

La Sombra (The Shadow) is a video of Regina Jose Galindo performing with a moving Leopard tank. The artist runs until exhaustion across a dirt field in what looks like a military site. Recorded for the camera, and projected on loop, the video performance was created for Documenta 14.