Arpedia

Dr. N Song belongs Ozawa’s body of work The Return of Dr. N in which he follows a humorous fictional character based upon the historical figure Dr. Hideyo Noguchi who researched yellow fever in Ghana in 1927. Though Dr. Noguchi was known for his unruly temper and behavior and many of his discoveries were erroneous, he was widely revered in Japanese society. Ozawa’s Dr. N story explores links between Japan and Africa, past and present, fact and fiction, through the commissioned work of Ghanaian painters and musicians working in popular African styles.

© » KADIST

My Name as Written by Bruce Nauman

Mungo Thomson

My Name as Written by Bruce Nauman

© » KADIST

Publica

Liu Yin

Liu Yin’s cartoon-like paintings and drawings explore the ambivalences of love, nature, and consumerism. Their scenes belong to the realm of childhood dreams, expressing both desire and anxiety through delicate colors and playful figures.

© » KADIST

Roca Carbón (Charcoal Rock)

Mateo Lopez

With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks. Traces of art history reverberate through the sculptures; their mediums reflect traditional materials for drawing and sketching, and the simplicity of their forms gesture toward minimalism. But López dislocates these common objects from their ordinary utility by replicating their component parts in paper, graphite, and charcoal, thus drawing attention to mechanisms of representation and translation.

With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks. Traces of art history reverberate through the sculptures; their mediums reflect traditional materials for drawing and sketching, and the simplicity of their forms gesture toward minimalism. But López dislocates these common objects from their ordinary utility by replicating their component parts in paper, graphite, and charcoal, thus drawing attention to mechanisms of representation and translation.

© » KADIST

Snow White as a balance beam gymnast

Liu Yin

© » KADIST

Mao, who curves himself along the edge of the paper

Liu Yin

© » KADIST

Eclipse

Cerith Wyn Evans

Eclipse

© » KADIST

Ballerina

Liu Yin

Liu Yin brings the tension of a small but imminent catastrophe into the gallery with a raw egg balanced on the edge of a folding table.

© » KADIST

Half Full, Half Empty

Mungo Thomson

Half Full, Half Empty

© » KADIST

Masks (Merkel F6.1)

Simon Fujiwara

Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face. Masks (Merkel F6.1) was created in consultation with Merkel’s personal make-up artist; it features the special makeup that Merkel wears for HD cameras applied onto canvas. The image has been magnified to a near-microscopic level, rendering an ambiguous skin tone across which the makeup’s denser patches produce an abstract composition.

© » KADIST

September 2007

Mario Garcia Torres

September 2007

© » KADIST

El neon de los narquitectos

Julio Cesar Morales

El neon de los narquitectos

© » KADIST

Cityscapes 1 (boats), 2 (woods)

Hamra Abbas

At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country.

© » KADIST

I can’t believe we are still protesting

Wong Wai Yin

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages. The artist used found images from the internet, including a viral photo of an elderly woman who took part in the 2016 “Black Monday” strike against a proposed anti-abortion law in Poland, and another image taken the same year of a group of protestors in the United Kingdom, rallying for the Black Lives Matter movement. Drawing parallels with Hank Willis Thomas’s I Am a Man (2013) painting in the KADIST Collection, Wong employs the visual language and terminology of mass media, specifically borrowing images from protests on civil rights issues.

© » KADIST

Tribute to Inside Looking Out - For the male artists along my way

Wong Wai Yin

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China. For this video, Wong accompanied six male friends from art school to a group show of their work titled “Inside Looking Out” at Osage Gallery in Beijing. Throughout her visit, she was rarely acknowledged for her own creative accomplishments and was more frequently introduced as an artist’s girlfriend, and often without name.

© » KADIST

I can’t believe we are still protesting

Wong Wai Yin

© » KADIST

I can’t believe we are still protesting

Wong Wai Yin

Drawing & Print (Drawing & Print)

© » KADIST

Sentimentite (Invasion of Ukraine 38/100, from Chapter 4: Reshaping World Order)

Agnieszka Kurant

NFT (NFT)

For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history. Kurant’s fictional mineral-currency is at once data visualization, a sly commentary on global markets, and a speculative narrative about the connection between technology and geology (for example ‘conflict minerals’ used in smartphones). Inspired by the way natural forces shape rocks, landscape, and planets over time, Sentimentite ’s evolving forms are shaped by dynamic social and political ruptures in the 21st century.

© » KADIST

Stone Deaf (Drawing)

Milena Bonilla

Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions. Her drawings, sculptures, and photography are active investigations into our often-fallible notions of history. Stone Deaf (2009) is a direct intervention into Karl Marx’s gravesite, for which the artist literally traced the history of Marx’s grave.

© » KADIST

Cinema

Fang Lu

In the work Cinema , Fang Lu explores in a meticulous yet un-dramatic — almost casual — way of how “the self” in our today’s life is a controlled and staged construction of oneself. What appears at first sight to be a not unusual performance of self-choreography, becomes at a second glance a disturbing portrait of a – female – persona brought to life under contemporary conditions of attractiveness, anxiety and narcissism. Unlike her previous works, which duel more on the internal, surrealistic human conditions, this seven-channel work elevates the individual relationship with its socio-political environment to a more recognizable and appealing set of behavioral actions of self-awareness and self-inflicted anguish.

© » KADIST

Automóvel

Cinthia Marcelle

Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time. Shot from an aerial vantage, the camera tracks the daily commute on a small stretch of concrete highway. The camera films the traffic below in short five-second excerpts before blacking out; time begins to collapse as the video shifts between scene, and the hours compress into minutes as daylight quickly turns into night.

© » KADIST

TWO MILLION (Hong Kong Dollar)

Kwan Sheung Chi

One Million is a video work depicting the counting of bills. Divided into three versions, the video first shows a number of Japanese ten-thousand-yen bills being counted without in an orderly, efficient manner. In Two Million , a similar counting of one-thousand-dollar bills from Hong Kong follows.

© » KADIST

Sentimentite (COVID-19 Global Lockdowns 53/100, from Chapter 6: The Pandemic)

Agnieszka Kurant

NFT (NFT)

© » KADIST

I can’t believe we are still protesting

Wong Wai Yin

Drawing & Print (Drawing & Print)

© » KADIST

Untitled (series)

Francis Alÿs

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.

© » KADIST

Subject, Silver, Prism

Brian Jungen