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.

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.

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.

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.

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.

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.

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.

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.

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.

Film & Video (Film & Video)

Tomorrow by Jung Yoonsuk is a two-channel video installation, observing the two different sites of factories, one in the mannequin reform factory in Seoul, Korea, and the other in a sex doll factory in Shenzhen, China. The artist’s research began in 2016 when he encountered articles, and some dystopian images, about a “retired sex doll”, a spooky, deformed dummy with big breasts, that stood in an agricultural field backdrop of a high-rise apartment complex in Chengdu, China. Jung’s work explores the factory scene, the (mostly female) workers and their labor, the doll’s artificiality, and human-like eccentricities.

Drawing & Print (Drawing & Print)

In the first part of Cosmic Call by Angela Su the voiceover proposes in a neutral, documentary-like tone, a series of stories to rethink the way we usually understand, justify, or place blame for epidemiological events. Comets carrying an infective bacterium are linked with the invasion of viruses—our current nemeses—coming from outer space. Second-century BCE medicinal writings correlated the appearance of 29 comets over 300 years with events including plague and drought.

Drawing & Print (Drawing & Print)

Within the narrative of Sahej Rahal’s The rocks we will find, beings perform absurd acts in derelict corners of the city, emerging into the everyday as if from the cracks of our civilization, transforming them into liminal sites of ritual, and challenging ways in which we experience time and space. The temporal acts and their residue become primary motifs in his practice. The characters that inhabit these performances bare indices to different cultures, mythologies and pop culture.

Film & Video (Film & Video)

Steak House is a video representing two small puppets smearing the artist’s face with paint while he is sleeping. The work is based on modest means and reuses the classic theme of inanimate objects coming to life during the night while humans sleep. Is this the artist’s return to repressed feelings or fatigue provoked by the task?

Painting (Painting)

Prabhakar Pachpute was born in 1986 and raised in Chandrapur (Maharashtra), India, a place known as ‘The City of Black Gold’, where his family has worked for three generations in one of the oldest mines in the country. Currently, he lives and works in Mumbai. He has done his Bachelors in Fine Arts from I. K. S. University, Khairagarh (Chhattisgarh) in 2009 and Masters from M. S. University Baroda (Gujrat) in 2011.

Sculpture (Sculpture)

This work was conceived by Zhilyaev as part of the M. I. R.: Polite Guests from the Future exhibition. This iteration of the imagined Museum of Russian History (M. I. R.) is seen from a distant future standpoint. The Russian word ‘mir’ means both peace as well as ‘the world’, and is also the name of the first space station to ever orbit earth.

Film & Video (Film & Video)

Hikari (Light) (2015) depicts a fantastical and wrenching story about Juneko, a terminally ill young woman who communicates with her lover, a painter, through a portrait of her produced shortly after her death. As Juneko becomes sicker, her hair begins to fall out, a symptom of her unnamed illness. As her condition deteriorates, the film toggles back and forth with the animated story of Mogeji, a white strand of hair inhabiting Juneko’s body who becomes anthropomorphized through Kondo’s animation and recounts his own story of mortality and loss.

Painting (Painting)

Fairy #2 (2011) depicts a surreal scene of roughly assembled household ephemera, potted plants, and a faintly visible figure rendered in thin red line. The picture shows a grouping of tables and stools arranged in a dense cluster. A collection of objects, all brown or burlap-hued, cover their surfaces: ceramic pots, wooden planks, roughly geometric wooden sculptures, and even a small figure that perches precariously atop of miniature cube alongside a forked wood finish form.

Film & Video (Film & Video)

Winter is a film installation of multiple tenses—shot in the recent past, depicting an unknown future, unfolding (and changing) in the present of the exhibition. Shot in the white-washed homes of New Zealand architect Ian Athfield, including his own communal compound high above Wellington harbor, the film suggests various temporal and cultural conditions of instability, hinting at concerns of global warming and nuclear accidents, pushing at the boundaries of science fiction, stripped of narrative explication and causal explanation.

Painting (Painting)

Simon & Gus by Bobo is a binaural and fantastical artwork that tells the story of a sea steading maker-hobbyist as told from the perspective of an arduino board, and a mars dwelling stop motion animator as told from the perspective of a stop motion armature. The stop motion animator attends an artist residency on the red planet, and eventually sets out to start his own artist colony (a martian animation studio) with stupefying hubris. The result has disastrous consequences, with the martian ghosts eventually swallowing his soul, and his armature gaining full access to the animator’s motor skills and control of his ability to move.

Photography (Photography)

Wordplay was a central focus of Koller’s work, in particular the acronym U. F. O, which he adapted in his diagrammatic drawings to stand variously for Univerzálna Futurologická Organizácia (Universal Futurological Organization, 1972–3), Univerzálny Filozoficky Ornament (Universal Philosophical Ornament, 1978) or Underground Fantastic Organization (1975), and which also appeared in a series of slapsticky self-portraits titled ‘U. F. O.–naut’ (1970–2007). These infinite variations on a common cipher constituted an insistent incantation of the Utopian principle.

Photography (Photography)

For this series, Philip-Lorca diCorcia walked along Santa Monica Boulevard in Los Angeles in search of models who would be prepared to pose in hotel rooms according to pre- planned scenarios. The artist explained that: “I went back to the street just like the ordinary clients of these prostitutes. I went up to them and mentioned the following: ‘I would like to take a photo of you, I will pay you exactly what you are paid for a pass’”.

Drawing & Print (Drawing & Print)

This work includes sketches for Extrastellar Evaluations , the project she produced at Kadist. Extrastellar Evaluations introduces Plato’s mythical state of Atlantis as the theoretical birthplace of conceptual art. Well-known and obscure epistemological notions from the annals of cosmology and mysticism guided and informed her research in the Bay Area during the Kadist residency at the beginning of 2016.

Film & Video (Film & Video)

Taking its title from the eponymous mythological creature—famously featured as sea nymphs in Homer’s Odyssey. Sirens exist in literature across many cultures including Ancient Greece and India, described as part bird and part woman, or like a mermaid. They were said to charm men by their song, and, having first lulled them to sleep, tear them to pieces.

Drawing & Print (Drawing & Print)

Personaje 21

Film & Video (Film & Video)

Canton Novelty by Fang Lu captures the adventure of a group of three girls, Ruohan, Lily and Zoe on a summer vacation in Guangzhou, China. Throughout the course of the trip, they film themselves with their cell phones singing in a karaoke room, shopping at a hardware store, sitting at a park, hanging out in a hotel room and exploring a neighborhood looking at vacant apartment ads. Although their days may seem uneventful, the girls seemingly discover the ability to perform impossible “miracles,” including cooking a full pot of rice from three grains, summoning objects to appear and disappear, and turning off street lamps on command.

Drawing & Print (Drawing & Print)

Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval. Untitled (Set of Six Drawings) (2012) is an intricate watercolor of a child sitting cross-legged with its head stuck inside a giant mask resembling a duck head covered with eyes. It looks like a scene snatched from science fiction or a surreal dream; it is tempting to see in it some kind of warning sign, or an ominous vision of the future.

Film & Video (Film & Video)

In the video work Drag, a man in a dark room pulls on the end of a rope. In midst of sounds of heavy breathing, the camera presents alternating scenes of a man and the shadow of a man wearing a long, pointed hat cast against a wall. Insinuating a sinister mood, the man and the shadow struggle to control the scene through alternating tugs and releases of a rope.

Drawing & Print (Drawing & Print)

Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive. and abstract silhouetted motifs, in a black and white palette, are combined to create a world lodged between fantasy and reality typical of the tarot game. Airplanes, letters, naked women, Osama Bin Laden, Che Guevara, mythological figures, skulls, wrestlers’ masks are some of the visuals that populate this printed object.

Drawing & Print (Drawing & Print)

Meeting #100 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organize meetings somewhere in the world. The audience is given the details of a meeting—the place, date and time—and nothing more.

Film & Video (Film & Video)

Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco. VertiGhost features the re-creation of select scenes from Vertigo (which takes place in San Francisco), documentation of the life of a painting by Amedeo Modigliani in the Legion of Honor’s collection that was enshrouded by questions of authenticity, as well as interviews—including with the original film’s star Kim Novak— about the construction of realities in life and art. By thoughtfully overlaying these conversations and events, Hershman Leeson distills complex conversations around identity and authenticity into concise insights in just over 12 minutes.