Film & Video (Film & Video)

In Summer Camp , Lola Gonzàlez filmed a group of friends at the home of her parents in the department of Charente (France) in the process of transforming the house into a training camp. They are doing exercises with the furniture as if they were training to fight against something yet to happen. Gonzàlez ’s films persistently evoke the same fear of an external threat, one which is never explained but which can be placed in relation with the current political situation and social tension.

Installation (Installation)

Easy to fold and carry, Jorge González’s Banquetas Chéveres (Chéveres Stools) embody the nomadic and flexible nature of the Escuela de Oficios. González’s work employs a modernist language while paying homage to artisanal techniques specific to Puerto Rico and the Indigenous knowledge, people, and histories of the Carribean. Reinterpreting the furniture line ArKlu (1945-1948) conceived by the architects Stephen Arneson and Henry Klumb, the stools were conceived in collaboration with various artisans in Puerto Rico–Eustaquio Alers, a weaver from Aguadilla, Joe Hernández from Ciales, and MAOF from San Juan, a contemporary wood-salvaging collective, among others.

Photography (Photography)

Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience. As with most of his works, the photograph is untitled followed by a parenthesis that provides some context clues. In this case, an inscription on the reverse of the photograph reads: For Laura (Alice B. Toklas + Gertrude Stein Flower Bed in Paris).

Installation (Installation)

Jardín (2013) refers to environmental destruction, specifically the preponderance of disposable plastics, as well as Medellín’s long history of dangerous conflict; it was once considered the most violent city in the world because of the drug trafficking there. This floor sculpture consists of shoes made of river stones, strung with flip-flop straps. Here, Chavajay plays the natural (found stones) against the synthetic (plastic), heavy against light, hard against soft, revealing the irony of their fusion and the impossibility of their alleged function as shoes.