Film & Video (Film & Video)

One of John Wood and Paul Harrison’s earliest works, Device features Harrison performing a series of actions, assisted by the titular ‘devices’, that use physics to force his body into unusual and uncomfortable positions. Maintaining his signature deadpan expression throughout the video, in one scene Harrison is thrusted into the air by a slowly inflating balloon until only his feet are visible in the frame, while in another he levitates in diving position with the help of a pulley system. Wood uses his body and specially-designed props created by the artist duo to explore the space of the screen in hilarious, and sometimes clumsy or violent, ways.

Installation (Installation)

Yuca_tech: Energy by Hand is an installation by Amor Muñoz that resulted from a local technology lab in a small village in the Yucatán henequen zone, in the Mayan region of Mexico. The lab was designed as a community technology space that focuses on developing forms of production through collaboration rather than through capitalist means of production based on private ownership and driven by financial profits. More specifically, the workshop and activities of the lab merge Indigenous crafting techniques with open-source technologies and solar energy to create technology-based artworks.

Sculpture (Sculpture)

tombs and ignitions is a collaborative ceramic sculpture by artists Tyler Cross and Kyle Lypka. The work was translated by Kyle Lypka from Tyler Cross’s original drawing into three dimensions by coil building upwards. Lypka chose to coil build instead of using slabs because, although very flat and geometric, he believed that the form would benefit from the more organic technique of coil building, which after drying and firing tends to twist and pull, adding a sort of paradoxical swing and motion to the work’s angularity.

Film & Video (Film & Video)

3-Legged is an early video work by John Wood and Paul Harrison in which they appear with their legs tied together (as one would do in a three-legged race). Wood and Harrison stand together in a narrow alcove built into their studio, dressed similarly in grey long sleeve shirts and jeans. Facing a tennis ball machine that is almost completely out of view, with only the barrel of the machine protruding from the bottom of the frame, they hobble back and forth across the alcove attempting to avoid the tennis balls launching toward them, with varying degrees of success.

Photography (Photography)

Megan and Hazel Sue at Creekmore House by Carolyn Drake is from a series of works titled Knit Club . For this project, Drake collaborated with an enigmatic group of women in Mississippi who loosely call themselves “Knit Club”. The subject matter of this photograph centers on the relationship between the girl and doll in the painting, and the woman and girl in the photograph.

Photography (Photography)

Jackie and Chloe by Carolyn Drake is from a series of works titled Knit Club . For this project, Drake collaborated with an enigmatic group of women in Mississippi who loosely call themselves “Knit Club”. There is a strangeness to this photograph; details of facial identity are withheld.

Film & Video (Film & Video)

Originally a multi-channel video installation with sculptures and sound, this iteration of The Workshop by Gilad Ratman is a three-channel distillation of the expansive project that follows a group’s underground pilgrimage from Mt. Carmel in Israel to Venice, emerging underneath the Israeli pavilion in the Venetian Giardini. Upon their arrival, the motley group of 30 non-actor participants then sculpt self-portrait busts of themselves, with microphones embedded and protruding from the sculptures.

Film & Video (Film & Video)

Postcards from the Desert Island is a remake of a 50s educational film Holiday from the rules in which four children interact with an omniscient narrator who teleports them to a tropical island where there are no rules. As in Lord of the Flies , the little children’s anarchistic society quickly breaks down. Finally, when the narrator asks the children if they want to leave the island they answer unhesitatingly: “instead of making up a lot of rules, why don’t we go home where we already have them?”.

Drawing & Print (Drawing & Print)

Forensic Poster was first realized in 2006 and reactivated in 2011; its making consisted of the artist visiting the London School of Criminology and corresponding with the interim director there in order to reproduce a poster by memory. This piece of work is symptomatic of Cooter’s projects which are often arduous enterprises littered with pitfalls, since they imply prospecting and collaborating with third parties whose will determine the success of the project. Forensic Poster consists of a letter, emails and a gouache which translates the artist’s attempt to recreate a poster glimpsed at in one of the study halls of the London Police Department of Forensic Medicine.

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”.

Drawing & Print (Drawing & Print)

BF15 is a preparatory study for the collective’s intervention at the BF15 gallery in Mexico, near Monterrey. It includes a photograph, a collage, sketches and notes. The intervention consists in the seamless extension of the wall of the BF15 gallery beyond the property boundaries, invading the sidewalk and the street, entering public space.

Installation (Installation)

Map of the Universe from El Cerro continues Chemi Rosado-Seijo’s long-term engagement with the community of El Cerro , a rural, working-class community living in the mountains of Naranjito, Puerto Rico. The project was initiated in 2002 by painting the exteriors of residents’ homes different shades of green, paying homage to the way the community has been built in harmony with the topography of the mountains where it stands. Through negotiation and collaboration with community leaders, volunteers, students and residents, over 100 homes have been painted.

Drawing & Print (Drawing & Print)

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.

Sculpture (Sculpture)

Erratum: Brief Interruptions in the Waste Stream exists as performance, sculpture, drawing, video and the printed word. In a short video the two artists Amy Franceschini and Michael Swaine transform a porcelain toilet into bricks in four movements. In quite brutal actions, they use sledgehammers to smash the toilet into small shards that are then reshaped to form a stack of bricks.

Film & Video (Film & Video)

In Dorian, a cinematic perfume, video is used as a community gatherer, a tool to speak about particular subcultures, in this case the trans-gender drag queen New York community, past and present. Developed from a literary work, it deconstructs notions of narrative forms, styles and conventions. It is a hybrid piece, an example of the elasticity of the medium.

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.

Film & Video (Film & Video)

PANGKIS by Yee I-Lann is a looped video performance. The work is named after the triumphant warrior cry, an animistic guttural call, which punctuates the traditional Dusun Sumazau dance. For this work, the artist collaborated with Tagaps Dance Theatre, a group of young dancers whose practice merges traditional and contemporary styles.

Sculpture (Sculpture)

7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo. The materiality and form of this traditional headpiece represents the strength and fierceness of forest warriors. Their ‘chimneys’ on top are intended to resemble trees in the jungle onto which hornbill feathers would once have been stuffed.