Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble the pages of an ancient cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of the world.

Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble pages of an ancient open cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of the world.

Drawing & Print (Drawing & Print)

Selected Scripture is a series of silkscreen prints that Hong Hao has been working on since the 1980s. The series includes 37 prints to date, each of which resemble pages of an ancient open cartography book. In this series, the artist reflects on the authoritative influence of ancient books that shape dominant understandings of the world.

Photography (Photography)

Unhealed by Tenzing Rigdol is a photograph of the artist’s back tattooed with a map of Tibet with the dates of important political events. Each date and region is marked with a needle, a reference to the traditional Chinese medicine method for treating ailments, used to mark the regions and dates of major uprisings and mass protests as a means of encouraging dialogue and to start the recovery process. Millions of Tibetans have died in those protests.

Installation (Installation)

Victory Through Air Power III (1943) by Wendy Cabrera Rubio is part of a series of quilted maps that reproduce different scenes from the eponymous film. Victory Through Air Power the film is an animated history of aviation produced by Walt Disney, and likely one of the first educational and documentary films using animation. Disney’s political agenda, specifically towards Latin America, has played an important role in Cabrera’s practice.

Textile (Textile)

Maori barkcloth making is the central artistic form in the Pacific, and still at the core of cultural expression in many Pacific countries. However, Maori barkcloth making ceased to be practiced in the nineteenth century, at the same time as the arrival of European colonists. Completed barkcloth works often represent another complex Pacific Indigenous accomplishment, the sophisticated system of celestial mapping used in the cross-Pacific navigation that led to the expansion of a vivid pan-Pacific civilisation, thriving before colonial disruption.

Film & Video (Film & Video)

Intersticio (Interstice) by Elena Damiani traces the topography of a non-specific site, an in-between zone. The video presents a panoramic view of two territories of a shifting and unresolved character, composed out of segmented events that visually intersect at a shared horizon point. Over the images, a fragmented and ambiguous poetic narration describes, by means of images found in digital archives, a hybrid site that permutes the representation of nature through its fusion of source material.

Film & Video (Film & Video)

In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area. The first of its kind in Southeast Asia. Located at a depth of 130 meters beneath the Banyan Basin on Jurong Island, the Caverns provide infrastructural support to the petrochemical industry that operates on Singapore’s Jurong Island, a cluster of islets reclaimed into one major island and connected to the mainland in the 1980s.

Painting (Painting)

Daniel Boyd’s work WTEIA3 is part of a series of paintings that reference the stick charts used by indigenous communities on the Marshall Islands. These charts were made in order to navigate the Pacific ocean by canoe and thus crucially depict ocean swell patterns. These highly individualised maps were rarely intended for mass use but instead for memorising, and transmitting between the community, the maps were not taken to sea but instead memorised in advance.

Film & Video (Film & Video)

In SEA STATE 6 Charles Lim takes the viewer down the Jurong Rock Caverns in Singapore, a massive underground infrastructure for oil and fuel storage, built to support the commercial operations of oil traders, petrochemical ventures and manufacturing industries in the area. The first of its kind in Southeast Asia. Located at a depth of 130 meters beneath the Banyan Basin on Jurong Island, the Caverns provide infrastructural support to the petrochemical industry that operates on Singapore’s Jurong Island, a cluster of islets reclaimed into one major island and connected to the mainland in the 1980s.

Sculpture (Sculpture)

Behold A City 4 extols the old grandeur of Manila, the nation’s storied capital – the complex nexus of heritage, modernity, and all sorts of compulsions, political or otherwise, that attempt to define it. This is not Manila whittled down to a scale model but a re-imagination of the city by Ryan Villamael in his ardor to approximate its complexity both as a physical, urban fact and an evolving concept. Behold A City 4 features an entirely new topography and arrangement.

Film & Video (Film & Video)

“There is a tapestry of sounds around us.” – Tania Candiani Tania Candiani has long been interested in Acoustic Ecology: the study of relationships between humans and our environment mediated through sound. A poetic text by Candiani narrated by writer and MacArthur fellow Josh Kun is featured in this three-channel video, For the Animals. The artist carried out visual research for the project: scanning, sampling and borrowing from books, vintage videos and images of material that informed her process.

Film & Video (Film & Video)

Randa Maroufi’s Bab Sebta , is named after a Spanish enclave in Morocco, Ceuta. The film is a portrait of the ‘doorway to Europe’, a place where a murky economy of semi legal exchanges take place across a border anomaly. The border is represented by painted lines across the tarmac, as innocent as playground markings but with far greater consequences.

Film & Video (Film & Video)

Letters of the Greek alphabet glisten on a black background. When a letter appears, there is a sound. Each letter corresponds to a star in the sky.

Iván Argote’s As Far As We Could Get comprises a series of video chapters made in the municipality of Palembang, Indonesia and the small town of Neiva, Colombia. The two cities are exact antipodes. The geographical usage of the term antipode – designating points diametrically opposite one another on the globe – stems from the ancient belief that the other side of the earth held a kind of netherworld, where everything was inverted, causing the men who lived there to walk backwards.

Drawing & Print (Drawing & Print)

Map 1969-2005, a poster glued on the wall, questions space in its relation to geography. On a red background, a free-hand drawing in white refers to the aesthetics of maps. Map 1969-2005 is not an accurate map of the United States, but one that combines mapping, overlaps and merges diverse elements: Oregon, Lake Superior, San Francisco, Cheyenne, Missouri, Zuni, Navajo, Texas, Shawee, Colorado, Piegan, Canada, Miami, etc.

Photography (Photography)

In 2011, Paulo Nazareth completed a unique journey of several thousand miles. Nazareth left Minas Gerais, Brazil and walked across all of Latin America to the United States to take part in an exhibition during the Miami edition of Art Basel. The series Notícias de América , described by the artist as a residency in transit, or perhaps an accidental residency, is the result of a year’s elaboration of a body of work that is the direct result of an entanglement of human affairs experienced along the way.

NSA-Tapped Fiber Optic Cable Landing Site, Mastic Beach, New York, United States

Photography (Photography)

In 2011, Paulo Nazareth completed a unique journey of several thousand miles. Nazareth left Minas Gerais, Brazil and walked across all of Latin America to the United States to take part in an exhibition during the Miami edition of Art Basel. The series Notícias de América , described by the artist as a residency in transit, or perhaps an accidental residency, is the result of a year’s elaboration of a body of work that is the direct result of an entanglement of human affairs experienced along the way.

Photography (Photography)

In 2011, Paulo Nazareth completed a unique journey of several thousand miles. Nazareth left Minas Gerais, Brazil and walked across all of Latin America to the United States to take part in an exhibition during the Miami edition of Art Basel. The series Notícias de América , described by the artist as a residency in transit, or perhaps an accidental residency, is the result of a year’s elaboration of a body of work that is the direct result of an entanglement of human affairs experienced along the way.

Textile (Textile)

Yuta Nagi Panaad (Promised Land) by Cian Dayrit addresses the impacts of the globalized economy and its powerful ideology on the spaces of everyday life. This tapestry work is a map that aims to visualize the expanding borders of mineral extraction, agri-business plantations, and their effects on the communities and the ecology of Mindanao, Philippines. Mindanao has a history of colonialism, exploitation and displacement of its people.

Installation (Installation)

Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail. These works epitomize the idea of perpetual movement and migration while carrying a deep personal meaning in the creative process, as the artist’s father himself, still living in Chile, mends and sends the sails to his son, living in Europe. The reversed position of the sail recalls both the shape of South America itself and the Eurocentric view that in the Southern Hemisphere, everything is “upside-down.” The stitches themselves create an illusion of an alternative political geography, and the framed-cuts impose a cartographic grid.