Photography (Photography)

“I focused on how the political and physical merged” analyzes Willie Doherty. Out of the Shadows II plunges us into a dark night lit by a few street lights in a deserted street where a car is parked in the Irish city of Derry. What is at stake is yet to be unearthed.

Painting (Painting)

Maaike and John

Sculpture (Sculpture)

Discrepancies with Oaxacan Textile II by Leonor Antunes is a hanging sculpture composed of three elements made of brass. This sculptural work was originally produced for the exhibition Discrepancies with Clara Porset (2018) at Museo Tamayo, which featured reassembled objects from early 20th century Cuban designer Clara Porset. Antunes’s work explores Mexican traditions through a contemporary context.

NFT (NFT)

Gregory Halpern spent five years shooting ZZYZX , and another year editing the results, from an estimated thousand rolls of film, about half of which were shot in the final year after his Guggenheim Fellowship enabled him to live in California. According to Halpern, the series “is grounded in reality, but it occupies an in-between space, between documentary and a certain sense of mystery.” …“I see ZZYZX as part of a continuum but edging a little closer towards fiction.” The series title is borrowed from the village Zzyzx (pronounced zye-zix), formerly Soda Springs, but rechristened by the mineral water pioneer, Curtis Howe Springer, in 1944. The eccentric Springer named it after what he claimed to be the last word in the English language.

Photography (Photography)

Adrien Missika follows in the footsteps of the Brazilian landscape architect and artist Roberto Burle Marx (1909-1994), a designer of gardens, parks and promenades who introduced modern landscape architecture to Brazil. Marx’s work is characterized by the use of native tropical vegetation as a structural element of design. He worked with Oscar Niemeyer and Lucio Costa, the architects of Brazilia, and with them, the tropical plant became a motif in urban architecture.

Installation (Installation)

Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning. With copper wire stretched out across the room like a clothesline, Valeska Soares’ La Ligne du Temps creates a timeline out of fluttering, old book pages. Read upon the pages of this delicately wrought installation are linguistic approaches to time and its phenomonologies.

Film & Video (Film & Video)

The title of Alicia Smith’s video work, Teomama , means “God Carrier” in the Aztec language of Nahuatl. It was the name given to medicine men and women who carried the bones of Huitzilopochtli—the god of war, sun, and human sacrifice in ancient Mexico, and the national deity of the Aztecs. Of the many legends featuring Huitzilopochtli, the origin story of Tenochtitlan (present day Mexico City) is perhaps one of the most well-known.

Film & Video (Film & Video)

Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth. As the camera fades to black, the viewer hears the repeated sound of a shovel striking dirt. The camera fades back to the clearing and zooms in on a shirtless man digging up the ground.

Film & Video (Film & Video)

Deferral Archive is one of the archival extensions of siren eun young jung’s Yeoseong Gukgeuk Project (2008-), a decade-long ethnographic research project into the diminishing genre of Korean traditional theater known as Yeoseong Gukgeuk . The genre, which was popular in the 1950s-60s, has since been forgotten, without ever being established as either a traditional or modern form of Korean theater. The most distinctive formal trait of Yeoseong Gukgeuk is that the theater performers are exclusively women.

NFT (NFT)

Monuments of the Disclosed by Ahmet Ögüt is an NFT series of digital monuments to whistleblowers. As part of the drop of Augmented Reality sculptures, Ögüt invites the public to participate in populating public space with AR monuments, honoring those who have stood up to corrupt power. Each monument is dedicated to a different individual who stood up to protest systems far larger than themselves.

Photography (Photography)

Office Lady with a Red Umbrella restages a figure from a 1980 postcard made from a photograph from 1950’s. The retro-glamor of the 1950s style is restyled devoid of the original context of a Hong Kong street scene, where the “office lady” is walking on Queens Road of the Central district. With the “office lady” facing away from the viewer with a bare background, an introspective tone is created in Leung’s restaging while highlighting the red umbrella resonating with a red pencil skirt emblematic of the identity of the professional urban woman when Hong Kong was under British rule.

Sculpture (Sculpture)

The Striation Scrap Lamps (vertical and horizontal) although functioning as utilitarian objects also represent Jason Meadows’s interest in a certain kind of crafted sculpture. In fact, one could go as far as to say that these pieces connect with different lines running through the 101 collection: they combine both the appropriation of found materials that responds to a very common practice in certain forms of West Coast avant-garde with an interest in the intersection of art and design (something that is present to a certain extent in more slick, design-oriented pieces such as Chadwick Rantanen’s Telescopic Poles for example).

Painting (Painting)

Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior. Rasgado wanders through the urban landscape in Mexico City and other major cities, looking for moments of intrigue in the dirt and debris. He captures these details by extracting materials from the sites and deploying them in the gallery.

Installation (Installation)

This work refers to the “Dream Machines”, an experimental object invented by the painter and writer Brion Gysin and the scientist Ian Sommerville, and which is composed of a light bulb with light passing through slits in a rotating cylinder. Loris Gréaud revisits the structural mechanism; the light variations, following the frequency shift of the “ Dream Machines”,, which is transcribed here by the undulations of the light produced by the filament lamps. Beyond this technological reference, the artist also quotes stories, legends, rumors about this invention in order to crystallize them in a contemporary technological object.

NFT (NFT)

For his project Book of Veles artist Jonas Bendiksen travelled to the small city of Veles in North Macedonia, inspired by a series of press reports starting in 2016, that revealed Veles as a major source of the fake news stories flooding Facebook and other social media sites celebrating Donald Trump and denigrating Hillary Clinton. Scores of young people in the impoverished city had discovered that they could make a decent living by fabricating and circulating stories online. Originally presented as a book, Bendiksen’s haunting images show the city of Veles and its inhabitants.

Photography (Photography)

Changi, Singapore, possibly 1970s is from the series “As We Walked on Water” (2010-2012), which looks into Singapore’s history around the phenomenon of land reclamation. After exhausting the country’s own soil from its tiny hills and ridges, the government had to buy sand from Malaysia and Indonesia to continue its reclamation efforts. At the early stages of a land reclamation project, the imported sand would sit idle for some time, forming an artificial desert-like landscape.

Film & Video (Film & Video)

This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013. These videos show several participants from different backgrounds gathering to create and object or an action. For this video, he brought together five Japanese poets from different movements and styles.

Photography (Photography)

For the works KAKERA, Bullet Train and KAKERA, Loving God Tatsuki Masaru traveled throughout Japan to visit museums holding kakera (which translates to “fragments”) of Jomon Period potteries –Japan’s pre-history 2,300-15,000 years ago. Small and fragile, the kakera were donated by farmers who had found them in their fields, or by archeologists, and then wrapped in newspapers and stored away. Today they sit quietly on the shelves of museums, unknown to people.

Drawing & Print (Drawing & Print)

Throughout his career, Marwan Rechmaoui has maintained a drawing practice. During the Covid-19 pandemic lockdowns the artist spent his evenings recording thoughts and imagery on paper, inspired by events happening around him, music, his garden, and the news. These drawings are contemporaneous in their concerns and are indexical of a destitute time and space in the aesthetics they conjure.

Drawing & Print (Drawing & Print)

This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper. Alÿs often executes such sketches in preparation for his performances, videos, and larger two-dimensional bodies of work. As the first visual representations of his ideas, they capture his thinking processes at the raw conceptual stage and allow us to gain a deeper understanding of his larger works.

Installation (Installation)

Misting Miner is a vapor sculpture by Alexey Buldakov from the Urban Fauna Lab collective that gives material form to the invisible phenomenon of mining cryptocurrency. The work is comprised of a water cooling system attached to technology that continuously mines cryptocurrency, and in the process also generates an extraordinary amount of heat. As a latent and untapped source of energy, the artist harnesses the heat and reveals its transformative potential by turning it into fog through the water cooling system, which he then reroutes to follow a cycle of evaporation, condensation, and precipitation.

Sculpture (Sculpture)

Donald of Doom Tank (2008) is a replica of a vintage metal toy with Donald Duck’s image one side and a soldier on the other. During World War II, the Walt Disney Company produced series of cartoon shorts that featured Donald Duck’s nightmare of working in an inhumane artillery factory in Nazi Germany and serving in the U. S. Army. By animating and normalizing war and military life, these cartoons not only achieved widespread popularity, but functioned as government propaganda.

Painting (Painting)

Kamau Amu Patton’s painting Static Field I originates from a system of electronic and digital media. The image we see on the canvas was created by pointing a camera into its output—a gallery wall—and subsequently generating a feedback loop. Patton then records the distorted image, digitizes it and prints the file onto unprimed canvas with the help of a machine.

There was a tragedy in Sialkot, Punjab, in August 2010, when two adolescents were murdered by vigilantes who were apparently in connivance with the police. Struck by this blunder revealing police corruption, the started a series of paintings on paper, You who are my love and my life’s enemy too, in which he expressed his reaction to this murder. At first glance the work appears to be a splash of blood like the one in this killing, but, close up, the composition reveals itself as meticulous floral motifs typical of the art of miniature painting which the artist teaches.

Textile (Textile)

Designed by the artist and fabricated in collaboration with Kashmiri artisans in India, Baseera Khan’s Psychedelic Prayer Rugs combine visual iconography traditional to Islam, such as the crescent moon and lunar calendar, with brightly coloured symbols of personal significance to the artist: a pair of embroidered sneakers, a fragment of an Urdu poem, and the Purple Heart medal. Visually seductive yet charged with political and symbolic associations, the rugs bridge elements of American popular culture with aspects of Islamic worship that may be poorly understood in contemporary secular contexts. Encouraged by Khan to take their shoes off and interact with the rugs, viewers participate in a decolonizing process as they meditate on their poetic allusions or perform the traditional salat, the daily prayers that constitute one of the five pillars of Islam, the others being faith, charity, fasting, and pilgrimage to Mecca.

Drawing & Print (Drawing & Print)

The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material. For this project, Oppenheim procured the original glass negatives, which had been damaged over time, from the archives of this newspaper. She then printed the negatives as is, highlighting the multitude of physical flaws that had ‘spoiled’ the negatives.

Installation (Installation)

Antillas

Drawing & Print (Drawing & Print)

Audra Knutson’s work, The Death , is a hand-pulled linocut print inspired by Rainer Maria Rilke’s novel The Notebooks of Malte Laurids Brigge . Set in what appears to be a pathway inside a small town, the scene features two central figures: a man seated on a chair with a skull on his lap, and a girl writing the message ‘voilà votre mort, monsieur’ on a nearby wall. The girl’s message echoes the expression in the man’s face, who appears resigned or as described by Knutson “accepting death or a monotony in living, and not embracing beauty.” The large areas of solid ink in contrast with the delicate linework create a sense of theatricality and drama, and add to the mysterious and surreal nature of the scene.

Sculpture (Sculpture)

Made between 1986 and 2015, Buchanan’s Shack Sculptures are a result of the artist’s close observation and extensive research of ‘shotgun’ houses, where one room is arranged in sequence one behind the other; the rural poor inhabited these houses. They were often constructed for rent near railways or manufacturing centers, but by the late twentieth century tended to be owner-occupied. By engaging with this architectural form, Buchanan considers the economic consequences of the abandonment of this form of housing as a result of the ubiquity of the motorcar that permitted people to move to the suburbs, where there was less pressure on space.

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.