Sculpture (Sculpture)

Domes #1 represents a significant moment in Chicago’s career when her art began to change from a New York-influenced Abstract Expressionist style to one that reflected the pop-inflected art being made in Los Angeles. By 1968, the year she began creating Domes , the twenty-nine-year-old artist had moved from Chicago to Los Angeles, graduated from UCLA, and was part of a generation of artists whose work was characterized by of the masculine overtones of Southern California’s flourishing car culture. Inspired by new technologies in the auto manufacturing, these “Finish Fetish” artists appropriated industrial materials such as car paint or lacquer to create artwork with pristine finishes.

Film & Video (Film & Video)

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.

Photography (Photography)

Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994). The artist arrived a week prior to the opening with no artwork to install, and created three spontaneous works from locally sourced materials. This one was made of white plastic record sleeves that Orozco arranged on the damp roof of the gallery.

Photography (Photography)

The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale. These photographs present a series of urban landscapes and assembled Foucauldian structures of the present. Du sees the Tower of Babel as a continually reinvented narrative that warns people of “dangerous tendencies in the present time.” Du’s Babylonian towers resurrect from fallen rubbles of religious history in grand scale to focus on modern crises of civilization.

Photography (Photography)

The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale. These photographs present a series of urban landscapes and assembled Foucauldian structures of the present. Du sees the Tower of Babel as a continually reinvented narrative that warns people of “dangerous tendencies in the present time.” Du’s Babylonian towers resurrect from fallen rubbles of religious history in grand scale to focus on modern crises of civilization.

Photography (Photography)

The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale. These photographs present a series of urban landscapes and assembled Foucauldian structures of the present. Du sees the Tower of Babel as a continually reinvented narrative that warns people of “dangerous tendencies in the present time.” Du’s Babylonian towers resurrect from fallen rubbles of religious history in grand scale to focus on modern crises of civilization.

Film & Video (Film & Video)

DADYAA: The Woodpeckers of Rotha by Pooja Gurung and Bibhusan Basnet illuminates a unique and seldom seen international perspective on indigenous cultures and contemporary social issues in the Nepali context. A small masterpiece, the work engages with one of the most pressing social issues in Nepal, mass migration and the dissolving of social fabric in rural areas. The story begins with an old couple, Atimaley and Devi, who live in a village in Jumla, in the highlands of Western Nepal.

Painting (Painting)

Annie Pootoogook created COMPOSITION (EEGYVUDLUK DRINKING TEA) at a pivotal moment in her career. The drawing depicts her father Eegyvudluk Pootoogook, an Inuk printmaker and stone sculptor who died in 2000. Kin and kinship figure prominently in the artist’s work: Annie was the daughter of Napachie Pootoogook, a skilled draftswoman, and the granddaughter of renowned artist Pitseolak Ashoona.

Film & Video (Film & Video)

The short video Inside the Studio by Neïl Beloufa follows a humorous Toy Story -esque conversation between the artworks inside the artist’s studio. In the personless space, two animated paintings express their hopes for their future, contemplating the beverage options at the exhibition opening at which they intend to be presented, while a third painting forgoes such superficial conversation to consider their significance and purpose in the context of the art institution and the public’s perception. Interrupting their conversation, the artworks become the backdrop for an in-studio interview with the artist and a film crew.

Sculpture (Sculpture)

Raphaël Zarka discovered the scientific manuscripts of Abraham Sharp while in Oxford. Sharp was an English 18th century astronomer whose treatise Geometry Improved became the subject of a new body of photographs and sculptures. In this document, Sharp draws infinite possible combinations that enable the making of a polyhedron from a wooden cube – the most complex figure allows a perfect form with 120 facets.

Photography (Photography)

This photograph seems to be awaiting meaning, it more or less evokes known elements without really identifying with them completely: a motorway interchange, a bridge, an electric pylon… In fact this is the end of the tracks of the Aérotrain, a wheelless monorail invented by Jean Bertin in the 1970s, which acts like ‘a fossil of movement on landscape scale’, as explained by the artist. This fragmentary place is meant to activate physical movement. It also activates the spectator’s imagination.

Film & Video (Film & Video)

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation. In a contemporary Indian society beholden by strongmen, Abidi uses Sutar’s studio to fictionalize a sculptor producing commemorative works for populist, preening figures, surrounded by the likenesses of idolized politicians of the post-colony. Abidi’s video presents one such aspirational bureaucrat, trailed by a cadre of lackeys who fawn over the varying statues that are laboriously carted out for his approval.