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artist: Carlos Fernández

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Untitled
© » KADIST

Carlos Fernández

Installation (Installation)

Part of the exhibition PIÑA MATRIZ (2014) at Despacio Art, this untitled work by Carlos Fernández is a wood panel (formerly a section of a wooden table top) that bears the residue of insects interacting with fermented pineapple. The exhibition considered the production of pineapple monocultures and the agricultural monopolies for this product. Fernández used the exhibition space to portray alternative possibilities of diversified and ecologically sustainable production that could be mobilized in place of mass produced pineapple monocultures.

From the series the Old and the New (XI)
© » KADIST

Carlos Garaicoa

Sculpture (Sculpture)

From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany. Here, Garaicoa’s interest in vernacular Cuban architecture shifts towards the European context: a series of twelve nineteenth-century French engravings have been reworked into delicate paper models. Here, the two-dimensional old-school architectural renderings have become the foundation for new hollow three-dimensional structures.

Useless Wonder
© » KADIST

Carlos Amorales

Film & Video (Film & Video)

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006). The video is based on Edgar Allen Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket . The painting, derived from an image from a different, preexisting work, represents the artist’s continued interest in realizing particular subject matter in alternative forms, thereby imbuing it with new meanings and interpretations.

Untitled
© » KADIST

Fernanda Gomes

Sculpture (Sculpture)

For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread. The work is self-supporting and stands in a crack or a hole in the floor. The work suggests precariousness, frailty as well as humanity through its verticality, and its gentle sinuous form, referencing perhaps the work of Giacometti.

Vulnerabilia
© » KADIST

Jonathan Hernández

In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes. The artist has said that the appropriation of popular imagery is a way for him to take pictures without a camera and to register the things that happen in the everyday as visual essays that evidence the fragility of the world.

Why fear the future?
© » KADIST

Carlos Amorales

Drawing & Print (Drawing & Print)

Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive. and abstract silhouetted motifs, in a black and white palette, are combined to create a world lodged between fantasy and reality typical of the tarot game. Airplanes, letters, naked women, Osama Bin Laden, Che Guevara, mythological figures, skulls, wrestlers’ masks are some of the visuals that populate this printed object.

From Useless Wonder 04
© » KADIST

Carlos Amorales

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006). The video is based on Edgar Allen Poe’s 1838 novel The Narrative of Arthur Gordon Pym of Nantucket. The painting, derived from an image from a different, preexisting work, represents the artist’s continued interest in realizing particular subject matter in alternative forms, thereby imbuing it with new meanings and interpretations.

El hombre que hizo todas las cosas prohibidas
© » KADIST

Carlos Amorales

Film & Video (Film & Video)

Carlos Amorales, based in Mexico City, works in many media and combinations thereof, including video, drawing, painting, photography, installation, animation, and performance. Central in his work is the construction and alteration of what he calls his Liquid Archive, a collection of images, narratives, drawings, shapes, and ideas that he uses to construct his unique visual language—a critical and stimulating space for fantasy, reality, and the blurring of the two. Amorales creates tensions between revealing and hiding the personal and the universal in his often-ambiguous and fluid constructions.

Searching for We’wha
© » KADIST

Carlos Motta

Photography (Photography)

Searching for We’wha is composed of five photographic triptychs combining photographs from the American West (New Mexico and Arizona) with excerpts from American Indian poetry in an attempt to reconstruct imaginary aspects of the life of We’Wha, a famous member of the Zuni tribe, who was born male but who lived a feminine gender expression. With this work, Carlos Motta aims to question gender fluidity, indeterminacy, neutrality and non-conformity, using We’wha as an image of the ways in which Two-Spirit American Indians express gender in non-Western non-traditional ways. They are often accepted and revered by their tribes, and in We’wha’s case she even became an official representative of their social interests.

Borrando la Frontera
© » KADIST

Ana Teresa Fernández

Drawing & Print (Drawing & Print)

The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico. I painted them sky blue, creating a “Hole in the Wall” This deconstruction of “feminized” work explores the difficulties in reconciling both low wages and undervalued work via social and political infrastructures, confronting issues of labor and power. The images that I myself perform, present a duality: women dressed in a black tango dance attire while engaging in de-skilled domestic chores; the surreal within non-fiction.

Llorar mucho (To Cry A Lot)
© » KADIST

Fernanda Laguna

Painting (Painting)

Llorar mucho (To Cry A Lot) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina. It also picks up the thread of earlier works, accentuating the use of cotton, and embracing an almost cornily sentimental tone.

¡Qué triste estoy! (I’m So Sad)
© » KADIST

Fernanda Laguna

Painting (Painting)

¡Qué triste estoy! (I’m So Sad) is representative of Fernanda Laguna’s practice of the past twenty years. It is an upshot of intense emotional stress and psychological regression for the artist, which resulted in her renewed and strengthened commitment to feminist causes, especially in Villa Fiorito, but also as part of the leading committee of Ni Una Menos in Argentina.

Shadows V, Set of 3
© » KADIST

Charles Gaines

Photography (Photography)

To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure. Each is pictured four times: a photograph of the plant, a photograph of its shadow, a drawing of the plant, and a drawing of its shadow. Instead of lending structure to disparate entities, this system serves a counterintuitive purpose, dissolving the object.

Untitled (Map)
© » KADIST

Charles Avery

Drawing & Print (Drawing & Print)

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.

Sin Título (T4)
© » KADIST

Maria Fernanda Plata

Sculpture (Sculpture)

Unraveling, or “unweaving” sections of fabric, Maria Fernanda Plata arrived at delicate and tenuous-looking forms, both ghostly and gentle. Her careful meditations in fabric reflect Plata’s ongoing interest in the relationship between people and their environments, in fragility, systems, and destruction.

Amantes (Lovers)
© » KADIST

Juan Carlos Alom

Photography (Photography)

In Amantes (Lovers) Juan Carlos points his lens at his own environment, his underground (literally) studio in Havana. A beautiful and intimate image of a seedy yet casual scene of two lovers in the background foreshadowed by a beautiful young woman smoking a joint in the foreground, a very powerful and not too subtle political representation of the current realities and truth of youth life in Havana. Juan Carlos Alom is an artist known for his documentary photography of Cuba’s subcultures and underground scenes.

De sino à sina (From Bell to Fate)
© » KADIST

Carla Zaccagnini

Installation (Installation)

De sino à sina (From Bell to Fate) is a six-channel sound installation by Carla Zaccagnini exploring the relationship between modern Brazil and its colonial past. The sound installation is made from a recording of the bell at Capela de Nossa Senhora do Rosário dos Homens Brancos, a Baroque-style chapel that is one of the first chapels in Ouro Preto (previously Vila Rica) in the region of Minas Gerais. The work references the execution of José da Silva Xavier (1746-1792), also known as “Tiradentes”.

Aqua
© » KADIST

Fernando Palma Rodríguez

Installation (Installation)

Aqua by Fernando Palma Rodríguez is an installation formed by four gourds and one movement detector that activates them. Once put in motion, the gourds open and close hinged hands that are cut from their bodies, catalyzing a sophisticated, choreographed conversation among them. Following Indigenous notions of personhood, Palma Rodríguez grants agency to ordinary objects and therefore the ability to relate to others—humans as well as non-humans.

Poema
© » KADIST

Lenora de Barros

Photography (Photography)

Lenora de Barros’s poetics are known for setting in motion an intimate relationship between image and the written word. This was precisely one of the questions raised while producing the photographs that compose Poema , one of de Barros’s first and most iconic visual poems. The work consists of a sequence of six black and white photographs where language acts in a performative movement with the typewriter, forging a connection between word and image.

Brutalismo Americano
© » KADIST

Marlon de Azambuja

Installation (Installation)

Following a series of related works, Brutalismo Americano by Marlon de Azambuja is a site-specific sculptural installation produced during the artist’s residency at Kadist, San Francisco in 2017. Treating the city as an object of attention, de Azambuja collected building materials from the surrounding area over a period of ten days to conceive of an architecture in situ. The work is not meant to mimic any of San Francisco’s own architecture, or to be a maquette or portrait of the cityscape, but instead a singular, constructive gesture.

Idir
© » KADIST

Carole Douillard & Babette Mangolte

Film & Video (Film & Video)

Following Bruce Nauman’s seminal performance Walking in an Exaggerated Manner Around the Perimeter of a Square (1967) – which sees the artist carefully trace a small delimited area of his studio exaggerating the movements of his hips as he places one foot in front of the other – Idir reproduces these performative gestures in Algiers, Algeria. Idir continues the artist’s previous work on ‘hittistes’, which translates as someone who spends their day with their back to the wall, the city’s unemployed and the gestures proper to them. In collaboration with cinematographer Babette Mangolte, Carole Douillard’s performance takes place across three emblematic sites within the city: Bab El Oued, Les Sablettes and Diar Es Saâda.

Untitled (Waiters dancing with Itinerants, Onomatopoeia)
© » KADIST

Charles Avery

Drawing & Print (Drawing & Print)

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.

SEA STATE 6: Capsize
© » KADIST

Charles Lim

Film & Video (Film & Video)

In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area. The first of its kind in Southeast Asia. Located at a depth of 130 meters beneath the Banyan Basin on Jurong Island, the Caverns provide infrastructural support to the petrochemical industry that operates on Singapore’s Jurong Island, a cluster of islets reclaimed into one major island and connected to the mainland in the 1980s.

SEASTATE 6: Phase 1
© » KADIST

Charles Lim

Film & Video (Film & Video)

In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area. The first of its kind in Southeast Asia. Located at a depth of 130 meters beneath the Banyan Basin on Jurong Island, the Caverns provide infrastructural support to the petrochemical industry that operates on Singapore’s Jurong Island, a cluster of islets reclaimed into one major island and connected to the mainland in the 1980s.

Sobre la igualdad y las diferencias: casas gemelas
© » KADIST

Carla Zaccagnini

Photography (Photography)

This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) . These works are dedicated to the collection and investigation of similarities and singularities. Some focus on things that are supposed or expected to be identical, but end up being slightly different.

The Absolute Restoration of All Things
© » KADIST

Miguel and Natalia Fernández de Castro and Mendoza

Installation (Installation)

The Absolute Restoration of All Things is a collaboration by artist Miguel Fernández de Castro and anthropologist Natalia Mendoza. For this project, Fernández de Castro and Mendoza researched the 2014 court case that shut down Penmont Mining’s operations in the middle of the Sonoran desert. The lawsuit was brought to court by the “ejidatarios” (communal land holders) of El Bajío, Sonora, who claimed that their territory was illegally occupied and exploited, causing an irrevocable environmental impact on their land.

Adam
© » KADIST

Jean-Charles de Quillacq

Sculpture (Sculpture)

Adam is an emblematic work within Jean-Charles de Quillacq’s oeuvre. The artist has created a number of pieces entitled Adam , referring to original man, incarnated in multiple objects at once. Materially, Adam is a fluorescent yellow walking rope with an epoxy coating on one side, rendering the structure rigid, demonstrative of his sculptural practice which is both conceptual and sensual.

Juego de Banderas
© » KADIST

Antonio Caro

Painting (Painting)

Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro. Although the yellow, blue and red stripes on the first flag are faithful to the original, the second flag at the center has been modified to feature the word Colombia, emulating the typography and white-on-red design of the iconic Coca-Cola brand. Caro’s first version of this logo was a 1976 graphite drawing, and he has since produced several variations in different materials.

Carlos Amorales

Charles Avery

Carla Zaccagnini

Fernanda Laguna

Fernanda Laguna has mobilized and influenced a whole generation of artists through her various projects since the mid-1990s...

Charles Lim

Charles Lim Yi Yong’s work encompasses film, installation, sound, recorded conversations, text, drawing, and photography...

Carlos Garaicoa

Maria Fernanda Plata

Colombian artist Maria Fernanda Plata found herself drawn to fabric as a material with conceptual implications while on a residency in Vietnam...

Carole Douillard & Babette Mangolte

Carole Douillard Kabyle-French artist Carole Douillard uses the presence of figures, be it her own, or of performers, to produce sculptural works within space...

Jean-Charles de Quillacq

Artist Jean-Charles de Quillacq erects works which have a complicated relationship to remaining upright...

Lenora de Barros

Lenora de Barros studied linguistics and started her artistic career in the 1970s...

Marlon de Azambuja

Based on ideas of architecture, and by means of appropriation of public space and studio-based material operations, Marlon de Azambuja’s work creates new idioms for thinking and inhabiting the built environment...

Carlos Motta

Carlos Motta’s is a multi-disciplinary artist whose work seeks to document the social conditions and political struggles of sexual, gender, and ethnic minority communities through a variety of variety of mediums including video, installation, sculpture, drawing, web-based projects, performance, and symposia...

Fernanda Gomes

Charles Gaines

Antonio Caro