Arpedia

Gabriel Orozco comments: “In the exhibition [Documenta 11, Kassel, 2002], I tried to connect with the photographs I took in Mali in July. I traveled to Mali for three weeks and took some photographs related to my work. They are very different, but there are links as the graveyard of Timbuktu, which I discovered during the trip.

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Columpio

Gabriel Orozco

Columpio

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Installation #1

Marc Nagtzaam

Nagtzaam’s medium is drawing and his repertory of forms varies from abstract hard-edge and wall drawing to the reproduction of written material that he collects from art magazines. The artist uses abstract architectural elements that he reproduces on the wall in which he inserts drawings, elements from photographs and drawings of texts collected from art magazines. The repetition, control and imperfection of the movements create a tension, a particular vibration in his geometrical drawings and in the drawings of texts.

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Hueso de culebra (Installation #2)

Christian Salablanca

Sculpture (Sculpture)

Hueso de culebra (Snake Bone) arises from the stories that the artist’s grandmother used to tell him as a child about her father’s medical and spiritual practices in the southern part of Costa Rica, close to the border with Panama. One of them revolved around a plant that had various uses, from healing poisonous snake bites to predicting the future. She said, for example, that if one came across this plant during a period of drought, it could mean trouble was coming.

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Spaceship sketches of The Lemurian

Yin-Ju Chen

This work includes sketches for Extrastellar Evaluations , the project she produced at Kadist. Extrastellar Evaluations introduces Plato’s mythical state of Atlantis as the theoretical birthplace of conceptual art. Well-known and obscure epistemological notions from the annals of cosmology and mysticism guided and informed her research in the Bay Area during the Kadist residency at the beginning of 2016.

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Anthems

Geof Oppenheimer

Designed as an installation timed spent is determined by the viewer, as with classical sculpture, Anthems is a piece that is in place, and in time, and an important genre of video within the collection. It is the overlapping of the beautiful with the impact of military ritual and pomp. The use of the sculptural props and again sound (the ideal presentation of this work is with surround sound) create a composition as visual as it is aural.

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Extrastellar Evaluations

Yin-Ju Chen

Through a semi-fictional approach, Extrastellar Evaluations envisions a version of history in which alien inhabitants, the Lemurians, lived among humans under the guise of various renowned conceptual and minimal artists in the 1960s (Carl Andre, Mel Bochner, and James Turrell to name a few). If humans interpreted and appropriated the geometric-shaped works they created as conceptual and minimalist artworks, the objects were in fact transmission devices the Lemurians used to report back on human actions to their mother planet. The video takes the form of a channeled message from Adama, High Priest and spiritual leader of the Lemurians.

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Images

H.H. Lim (Hooi Hwa)

Images is a two channel video work addressing the relationship between art and ritual. On the left side, the artist is filmed in a sparse, red room with his tongue nailed onto a red table. With Lim’s freedom of movement and speech limited, the viewer focuses on the facial expressions of the artist as different streams of thoughts and realizations enter his mind.

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Two videos, three photographs, several related masterpieces, and American Art

Yan Xing

The title of this series – Two videos, three photographs, several related masterpieces and American art – is paradoxical, suggesting the work is conceived in relation to its medium and a situation in art history and the region of the world in which it was made. Paradoxical but in the end, often true of the way in which art history is written. The presence of black men and the term “American Art” brings us back to Robert Mapplethorpe’s Black Book .

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Extrastellar Evaluations III: Entropy: 25800

Yin-Ju Chen

Extrastellar Evaluations is a multimedia installation produced during Yin-Ju Chen’s residency at Kadist San Francisco in the spring of 2016. Chen’s project departs from a 19th century theory popular within Western biogeography that posited the existence of a “lost land” or ancient continent called Lemuria that had sunk beneath the Indian and Pacific Ocean due to cataclysmic geological change. As a result, its inhabitants, the Lemurians, found refuge in Mount Shasta, California.

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Summer Wind Before Rain

Wang Xu

Wang Xu’s video Summer Wind Before Rain was made during his residency last summer at Storm King, where he lived in a hut made of wood and gathered clay from the nearby forest. During his residency, he interacted only with the sculpture park’s gardener. In the eleven-minute video, we see the gardener ride a lawn mower the size of a golf cart, and we observe the artist slowly make a large, realistic bust of the gardener, bit by bit and layer of clay by layer.

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Arms & Legs (Specif. Elbows & Knees), etc.: Arm (with Bottle)

John Baldessari

Arms & Legs (Specif. Elbows & Knees), etc. : Arm (with Bottle) belongs to Baldessari’s most recent series of paintings in which the artist brings together photographic, painted, and three-dimensional elements, to juxtapose unlikely body fragments such as noses and ears, elbows and knees, or eyebrows and foreheads.

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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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Le Fou Postcolonial Insane

Guy Woueté

The video installation Le Fou Postcolonial Insane by Guy Woueté is a series of five videos that examine the concept of insanity in the post-colonial Democratic Republic of Congo. The first three videos in the series were shot in a market place in Lubumbashi, the second largest city in the Congo, where several psychoanalysts explore mental health in the context of the Congolese public sphere. Throughout the video series, Woueté links this public health examination to memories of colonial history.

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100 Boots

Eleanor Antin

Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City. Over two-and-a-half years, Antin photographed the boots against different backdrops across the U. S., and then turned the pictures into postcards, which she then mailed to approximately 1,000 people around the world. In conjunction with the boots’ “arrival” in New York City, the postcards were exhibited at the Museum of Modern Art.

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Calendars (2020-2096)

Heman Chong

The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096. Yet Chong photographed these public spaces (shopping centers, museums, MRT stations and schools) between 2004 and 2010. Calendars continues Hong’s conceptual investigation of the intersections between time, space and situation.

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Office Voodoo

Haegue Yang

Sculpture (Sculpture)

In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger. The installation suggests the personal, physical, psychological, and political dimensions of the modern office environment. Though abstracted from their original contexts, these materials are still formally recognizable and function as stand-ins for the places from which they came.

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Collaborative Mt. Tamalpais Drawings #1-8

Etel Adnan and Lynn Marie Kirby

In conjunction with KADIST’s 2017 exhibition If Not Apollo, the Breeze , artist and filmmaker Lynn Marie Kirby performed Transmissions , a video and live reading created with longtime collaborator Etel Adnan. Inspired by time spent together in Paris, the piece incorporated open-ended conversation about the oracle, Mount Tamalpais (a subject of long-standing fascination for Adnan and the subject of hundreds of works), and a suite of collaborative drawings. The drawings, made in India ink and created spontaneously, are remarkable evidence of two lives, minds, and hands in dialogue.

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O (for various skies)

Jesse Chun

O (for various skies) by Jesse Chun is a two-channel video sculpture that decentralizes American colonial narratives about the moon through “unlanguaging”—a methodology that the artist has conceptualized for unfixing language. The project disrupts bureaucratic documents pertaining to the United States government’s lunar colonization and militarization, such as The Lunex Project of 1958 and Project Horizon of 1959, through methods of visual, semiotic, and sonic (mis)translation and abstraction. Chun redacts the found texts, transforming them into concrete poetry, while interweaving lesser known Korean folklore about the moon, such as the precolonial Korean women’s moon dance ( ganggangsullae ) and shamanistic ritual dance for ushering the departed into another world ( gildakeum ).

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É Noite na América (It is Night in America)

Ana Vaz

Ana Vaz describes her film É Noite na América (It is Night in America) as an eco-terror tale, freely inspired by A cosmopolitics of animals by Brazilian philosopher Juliana Fausto; in which she investigates the political life of non-human beings and questions the modern idea of the exceptionality of the human species. In parallel to the feature film version, Vaz created a three-channel installation format meant to be displayed in contemporary art spaces. This edition includes three complementary video works that expand on the conceptual frameworks of the film.

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Variation & Improvisation for ‘In Harmonia Progressio’

Duto Hardono

Performance (Performance)

Variation & Improvisation for ‘In Harmonia Progressio’ by Duto Hardono is part of a series of work that focuses on sound loops as a fundamental element of his performance – a metaphor that Hardono employs as he examines the human condition, such as time and temporal spatiality. Unlike other works, where he generates sound using analog cassette tapes, this performance uses the human voice. Participants are instructed to vocalize ‘In’, ‘Harmonia’, and ‘Progressio’ – words that make up a Latin phrase which means “progress inside harmony”.

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The Book Cover series

Heman Chong

Painting (Painting)

With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006. Entitled “Bibliography (1): The Lonely Ones,” the list outlines representations of solitude that has been imposed on individuals or communities. Chong divides these archetypes into three over-arching notions: the Hide-away, the Castaway and the Prisoner.

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Good Life

Danh Vo

Good life (2007) is an installation displaying letters, documents, photographs and objects from a man named Joseph Carrier, and appropriated by artist Danh Vo. The installation features a series of small square vitrines, inset, dark and precisely spot-lit. Inside these are framed photographs, mostly black and white, of young Asian men, taken, as the titles on the neat brass name plates tell us, in Vietnam in the 1960s and early 1970s.

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Pest Control 1110, 709, 428 (or, a Myth for Another)

Tan Zi Hao

Tan Zi Hao produced Pest Control 1110, 709, 428 (or, a Myth for Another) , in response to the Bersih social movement, that catalyzed three rallies on 10th November 2007, 9th July 2011 and 28th April 2012, respectively, to demand a clean electoral roll. Tan Zi Hao’s work is a commentary on the Bersih protest movement; “Bersih” is the Malay word for “clean” and the movement was an important precursor to the changes in Malaysia following the 2018 elections when the Barisan Nasional coalition lost power for the first time since the country’s independence in 1957. Najib Razak, the prime minister ousted in those elections and the focus of some of the biggest demonstrations during the Bersih movement was sent to prison in 2020 after being found guilty of massive theft of public funds.

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Spring Line

Joe Scanlan

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.

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Maiko #1, #2, #3

Ron Terada

The three Maiko s were included in Ron Terada’s 2008 exhibition, Voight–Kampf , at Catriona Jeffries gallery. More ambitious in size and subject matter, this show with its complex video installation marked a new path for Terada’s work. Voight-Kampf is based on a scene from Ridley Scott’s 1982 movie Blade Runner in which a giant advertising billboard in the midst of a dystopian city of Los Angeles in the future displays a geisha eating candy.

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Shisa Dog and Chicken

João Maria Gusmão and Pedro Paiva

The artist duo João Maria Gusmão and Pedro Paiva traveled to Japan for a month to make a series of short 16mm films, often shot in slow-motion. This film, shown in continuous loop, has a run-time of just under 3 minutes, and is presented without sound. It captures a traditional Shisa (combination of a dog and lion from Okinawan mythology) animated by an invisible person.

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The Bedroom

Barbara Bloom