Arpedia

McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works. Here, McCarthy squirts liquid out of a bottle held near his crotch onto a stuffed animal in the shape of a lion. The costuming, materials, and simulated bodily functions frequently appear in McCarthy’s work, which often disturbingly juxtaposes visceral and startling manipulation of the body with the cheerful artifacts of popular consumer culture.

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Mickey Mouse

Paul McCarthy

To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey. On his shoulders he supports an enormous false head, Mickey’s familiar face grinning with glossy eyes. The artist has marked out in heavy black the background of Cinderella’s castle.

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Untitled (Stanley Kubrick, 1945)

Tim Lee

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.

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LIFE #1, a reenactment of a Japanese officer who is about to behead an Australian flier. The Pacific, 1945

Shay Arick

Part of a series of videos called LIFE, where Shay Arik videos that re-enact iconic journalistic photographs. As explained by the video’s title, the departure point for LIFE #1 is the iconic 1943 photograph published by Life magazine that captures Japanese officer Yasuno Chikao from the Imperial Japanese Navy as he raises his sword, seconds before publically beheading Australian war commando Leonard Siffleet in the shores of Papua New Guinea. In Arick’s restaging there are no onlookers in the scene, the only two figures represented are Chikao and Siffleet: the perpetrator and victim of this fatal act of violence.

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The Town

Michel Auder

The Town consists of footage taken from Auder’s studio of the skyline of New York, tracking planes as they fly across the sky and pass tall buildings. At the time of recording, like all of this films, there was no particular intent. However, in the aftermath of 9/11, this film becomes prescient and ominously prophetic.

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Talking Head

Michel Auder

Talking Head is a short film in black and white of Auder’s daughter Alexandra, hidden behind a hemp plant, playing with a plastic wrapper and babbling in an imaginative way. The viewer is uncertain whether Alexandra knows she is being filmed but given that Auder was constantly filming she was probably oblivious to it. Her statements make little sense to the outsider : ‘The thing never came back again.

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First Born

Rachel Rose

Sculpture (Sculpture)

First Born by Rachel Rose is part of a series of works titled Borns which expands on the artist’s longstanding interest in the organic shape of eggs. For this sculpture made of rock and glass the artist has created a milky glass-blown shape, almost like fabric in its form, which is draped over a metallic rock in the shape of an egg. For the artist, the egg is an alchemical symbol that is representative of conception and birth.

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Muster

Clemens von Wedemeyer

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.

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Dance Sticks

Brian Tripp

Sculpture (Sculpture)

For many years Tripp has been involved in reviving Karuk ceremonies that had been discontinued for decades, he developed his signature abstract style, based in Karuk design, ceremonial regalia forms, and related cultural and political iconography. The two works in the KADIST collection are a continuation of these forms with in the medium of sculpture.

Composed of three photographic panels, Three Times at Yamato Hotel by Luka Yuanyuan Yang is a part of the artist’s ongoing project Dalian Mirage , a seven act play in a theatre staged as the city of Dalian. This modern city was built by the Russian Empire in 1898 and occupied by Japan between 1905 and 1945. Based on historical investigations, Yang created ten characters, including a Dalian-born Japanese writer and a Dalian-born American immigrant.

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Anti-Happening

Julius Koller

Anti-Happening refers to Koller’s 1965 manifesto, ‘Anti-Happening (System of Subjective Objectivity)’. In opposition to the notion of a ‘happening’ as a way of actualising group identity, in his manifesto, Koller stated that his concept of the ‘anti-happening’ aimed at a ‘cultural reshaping of the subject, at awareness, at the surroundings and the real world’ [i] . Unlike happenings, these actions do not involve the staging of psychologically expressive performances.

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Dial Tone Drone

Aura Satz

For her telephone sound composition Dial Tone Drone, Aura Satz commissioned a conversation between two old friends, the sound pioneers Pauline Oliveros (1932-2016) and Laurie Spiegel (born 1945). Carried out via iPhone and Skype and prompted by a series of questions from Satz, the pair congenially discuss aspects of drone sounds, which for years have been an important component of their unconventional electronic work, both audio and video. Their interest in drone sounds and use of sustained or repeated sounds, notes, or tone-clusters aligned with Satz’s own interest in alert signals, and the latter’s attempt to forge a new understanding of hypervigilance and emergency through sound as a perceptual trigger of high alert.

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Music While We Work

Hong-Kai Wang

The video Music While We Work (2011) is the first part/work of a long-term research project started in 2010. The project revolves around and beyond the history of sugar in the small town Huwei in central Taiwan (the artist’s hometown). The town was nicknamed as the “Capital of Sugar” during the Japanese colonial ruling (1895-1945) of Taiwan.

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Zeppelintribüne

Artur Zmijewski

Zeppelintribüne (2002) was shot near the Zepelintribune in Nuremberg, designed by Albert Speer, chief architect of the Third Reich. The 360-metre-long structure is part of a larger architectural complex called the Zeppelinfeld, which the National Socialist used for their marches and rallies. The Zeppelintribune was immortalized in the Leni Reifenstahl’s film-propaganda masterpiece the Triumph of the Will, a record of a 1934 Nazi Party rally.

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baby born in the back of an uber

David Horvitz

NFT (NFT)

On March 30, 2015, at 5:52am, David Horvitz caught his daughter, Ela Melanie, as she was being born, in the back of an Uber driving through Midtown Manhattan. He held her up in the morning light as the car drove down Park Avenue, blocks away from the Museum of Modern Art, where Zanna Gilbert, the mother, was a fellow. After arriving at the hospital, Horvitz tweeted a photo and later e-mailed his friends and family with additional images.

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France, détours, episode 2: this line is your path

Frédéric Moser, Philippe Schwinger

In 1978, Jean-Luc Godard and Anne-Marie Miéville made the TV series: “France / tour / detour / two / children”, in which they aimed to identify the lifestyle of French people in 12 episodes of 26 minutes each. On each episode a little boy and girl are firstly asked about their daily lives. By broadening the scope of the interview, the questions of Godard and Mieville gradually bring the protagonists to think of themselves as subjects in the history of the world, to “live and see themselves on television” with a critical point of view.

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Banquetas Chéveres (Chéveres Stools)

Jorge González

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.

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Japanese House Series

Tomoko Yoneda

Yoneda’s Japanese House (2010) series of photographs depicts buildings constructed in Taiwan during the period of Japanese occupation, between 1895 and 1945. Yoneda focuses both on the original Japanese features of the houses and on details that have been altered since the end of the occupation. The yet-to-be acknowledged history of the occupation of Taiwan and other East Asian countries by Japan during World War II is subtly disclosed in these pictures.

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Museum of the Foreigner

Ícaro Lira

Icaro Lira has been developing the project “Museum of the Foreigner” since 2015, in which he recounts the trajectories of populations inside Brazil, from the north to the big cities of the south. The artist is himself Nordestin and moved to Rio to study cinema before enrolling at art school. The term “museum” is ironic, it evokes the institution and with it, the official history that the artist seeks to deconstruct by creating multiple stories that intertwine.

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Berlin Remake

Amie Siegel

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.

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Untitled (Heads)

Phan Thao Nguyên

On September 22, 1940 the French signed an accord, which granted Japanese troops the right to occupy Indochina. The Japanese presence in Indochina lasted until the end of World War II and during the occupation, jute supplies from India were interrupted. Jute was used to make sacks as well as gunpowder, a crucial material for the war industry.

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XXX…I had arranged to meet some friends at 7:40pm

Jiri Kovanda

All Kovanda’s artistic practice poses the question of visibility. Having worked on actions and performance, the artist decided to ‘disappear’ from his artworks during twenty years; in 2007, his performance Kissing through glass in the institutional setting of Tate Modern was acclaimed by critics. Some works are only visible thirty years later via traces and archives; the artist’s rehabilitation by institutions and galleries offers a new critical reading of his practice which had until then remained rather confidential.

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What a fucking wonderful audience

Dora Garcia

Dora Garcia’s work is a result of institutional critique and more generally that of language, following the conceptual artists of the 1960s like Weiner and Kosuth and Fraser from the 1980s and 1990s. What a fucking wonderful audience (2008) is positioned conveniently at the crossroads of several trends identified in the work of the artist. The performance from which it is derived, was made at the Biennale of Sydney in 2008, taking the form of a guided tour at the Museum of Modern Art in Sydney and focuses on artworks that were not physically present.

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Warder

Lydia Gifford

Lydia Gifford composes her work between pictorial expression and its inscription within an exhibition space. This particular approach implies the performative aspect of her in situ painting. The artist takes the entire environment into consideration from the canvas to the exhibition walls.

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Wedges in the Pavements, Autumn 1980, Alsovo nabrezi, Prague.

Jiri Kovanda

Kovanda’s street interventions are always documented according to the same format as the actions: a piece of A4 paper, a typewritten text giving a precise location and date, and a photograph. Contrarily to the actions, he took the photographs himself. One of the rules he stuck to in his artistic practice was to always use material at his disposal, a real economy of means.

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And shadows will follow

Thea Djordjadze

Sculpture (Sculpture)

The sculpture And Shadows Will Follow is an angle piece that articulates a space since its appearance highly changes depending on the point of view. Initially conceived for an exhibition with natural light, this work diffracts light and projects a shadow like a cut-out. Surprisingly the work stands like a drawing in space, a graph and its imprint, a line and a point.

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Strangely familiar: Angelina with her father

Michal Chelbin