Sculpture (Sculpture)

The Subtle Rules the Dense is a series of masks/torsos/body plates that Phoebe Collings-James cast from mannequins and then worked by hand. The resulting objects lie ambiguously between a representation of a human torso and a shamanistic mask. The work is reminiscent of Yoruba and Makonde body masks that portray pregnant forms, as well as Roman armor with nipple rings.

Photography (Photography)

Searching for We’wha is composed of five photographic triptychs combining photographs from the American West (New Mexico and Arizona) with excerpts from American Indian poetry in an attempt to reconstruct imaginary aspects of the life of We’Wha, a famous member of the Zuni tribe, who was born male but who lived a feminine gender expression. With this work, Carlos Motta aims to question gender fluidity, indeterminacy, neutrality and non-conformity, using We’wha as an image of the ways in which Two-Spirit American Indians express gender in non-Western non-traditional ways. They are often accepted and revered by their tribes, and in We’wha’s case she even became an official representative of their social interests.

Film & Video (Film & Video)

In the seminal video Workout , Kanis looks at the phenomenon of exercise in public space—specifically aerobics exercises in parks around Moscow today—as a broader lens for thinking about generational change. She leads a local group of participants through a work-shopped sequence of aerobics and marching. Each participant moves steadily and confidently in unison.

Film & Video (Film & Video)

Reflecting upon the transformation of surveillance techniques since the panopticon to include contemporary 3-D facial recognition, AI, and the Internet, Shu Lea Cheang’s 3x3x6 – 10 cases 10 data restages the rooms of the Palazzo delle Prigioni—a Venetian prison from the sixteenth century in operation until 1922—as a high-tech surveillance space. Taking as its starting point the story of libertine writer Giacomo Casanova, imprisoned in the Prigioni in 1755, Cheang has conducted in-depth studies on ten historical and contemporary cases of subjects incarcerated because of gender or sexual dissent, including the Marquis de Sade and Michel Foucault, as well as contemporary cases from Taiwan and South Africa. Their fictionalized portraits become part of the exhibition’s system; the title of which refers to today’s standardized architecture of industrial imprisonment: a 3 x 3 square-metre cell constantly monitored by 6 cameras.

Drawing & Print (Drawing & Print)

Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper. Specifically she portrays the two bodies she had access to when she learned how to draw: herself and on occasion her mother. She represents women as warriors, goddesses and shameless playful heroines in search of pleasure and discovery.

Photography (Photography)

This selection of untitled photographs taken between 2014 and 2019 focus on Joanna Piotrowska’s long-term preoccupation with issues of domesticity and containment. The images depict young isolated women in domestic environments, holding various unnatural postures: we see a hand raised to a face, as if in a trance; limbs precariously balanced or ambiguously entangled, contorted against an unseen adversary. It is unclear whether gestures are benign or threatening, whether these women are menacing or being menaced.

Performance (Performance)

During the performance A Hand’s Turn visitors are invited to read a text: “I hold a pen with the right hand / move the mouse with the right hand” reads one excerpt. While reading through the instructions the performer’s hands go through a precise choreography. The performance lasts 30 minutes and includes only 2 people at a time.

Drawing & Print (Drawing & Print)

Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper. Specifically she portrays the two bodies she had access to when she learned how to draw: herself and on occasion her mother. She represents women as warriors, goddesses and shameless playful heroines in search of pleasure and discovery.

Drawing & Print (Drawing & Print)

Kubra Khademi’s work celebrates the female body and in her detailed drawings and paintings she portrays female bodies floating on white paper. Specifically she portrays the two bodies she had access to when she learned how to draw: herself and on occasion her mother. She represents women as warriors, goddesses and shameless playful heroines in search of pleasure and discovery.

Painting (Painting)

The title of the painting refers to the fact that the figure’s behind is raised upwards and the face is found at the bottom of the painting, thus inverting the way in which people are normally seen. Bottom’s up is also a pun, a nod to the English toast. Quarles draws on a number of sources of inspiration, including comic book imagery, the influence of which sits alongside elements of her practice informed by life drawing classes.

Installation (Installation)

home, a temporary place by Mithu Sen is part of a project called AºVOID. In this fragmented mental map, the landscape is fleeting, embossed, and ethereal; there are moments of recognition and also a near-violent sudden emptying of memory. Bodies are skeletal, nature is in entropy, context is removed.

Photography (Photography)

This selection of photographs taken between 2014 and 2019 focus on Piotrowska’s long-term preoccupation with issues of domesticity and containment. The images depict young isolated women in domestic environments, holding various unnatural postures: we see a hand raised to a face, as if in a trance; limbs precariously balanced or ambiguously entangled, contorted against an unseen adversary. It is unclear whether gestures are benign or threatening, whether these women are menacing or being menaced.

Drawing & Print (Drawing & Print)

The three Maiko s were included in Ron Terada’s 2008 exhibition, Voight–Kampf , at Catriona Jeffries gallery. More ambitious in size and subject matter, this show with its complex video installation marked a new path for Terada’s work. Voight-Kampf is based on a scene from Ridley Scott’s 1982 movie Blade Runner in which a giant advertising billboard in the midst of a dystopian city of Los Angeles in the future displays a geisha eating candy.

Painting (Painting)

Secrets Between Her and Her Shadow 10 by Maryam Hoseini is from a series of paintings of the same title that are inspired by the story Layla and Majnun – an Arabic love story about Majnun, a 7th century Bedouin poet, and his lover, Layla. Hoseini’s compositions are visually inspired by the illustrations accompanying the Khamsa of Nizami , a manuscript of five poems, including Layla and Majnun , produced by the Persian poet Nizami in the 1590s. Unlike the original tale, Hoseini’s paintings focus entirely on Layla, any male characters are purposefully erased from this narrative.

Photography (Photography)

This selection of photographs taken between 2014 and 2019 focus on Piotrowska’s long-term preoccupation with issues of domesticity and containment. The images depict young isolated women in domestic environments, holding various unnatural postures: we see a hand raised to a face, as if in a trance; limbs precariously balanced or ambiguously entangled, contorted against an unseen adversary. It is unclear whether gestures are benign or threatening, whether these women are menacing or being menaced.

Film & Video (Film & Video)

CAMARADERIE is a precursor to and a blueprint for Mahmoud Khaled’s later forays into queer aesthetics and modes of visual representation. This work is based on videos that the artist collected over the years through YouTube, of Egyptian professional bodybuilders exercising or rehearsing before posing in local and international competitions. The selection also includes videos of amateur young men from Cairo, who obsessively train and exhibit bodily transformations resulting from their admiration for those bodybuilders.

Photography (Photography)

On New Year’s Eve in 1965, Lisette Carmi met and photographed a group of transgender people living and working on the Via del Campo in Genoa–the main street for prostitution in the city, located in the former Jewish ghetto. This encounter was the beginning of a seven year relationship with the group, and led to the publication of I Travestiti (1972), a controversial book that comprised all of the images Carmi took of the group between 1965-1971. Forming close friendships with the people she portrayed, the artist rented an attic near Via del Campo in Genoa to live with them, she captured the everyday lives of the group, depicting sex work from a new perspective.

Photography (Photography)

This selection of photographs taken between 2014 and 2019 focus on Piotrowska’s long-term preoccupation with issues of domesticity and containment. The images depict young isolated women in domestic environments, holding various unnatural postures: we see a hand raised to a face, as if in a trance; limbs precariously balanced or ambiguously entangled, contorted against an unseen adversary. It is unclear whether gestures are benign or threatening, whether these women are menacing or being menaced.

Film & Video (Film & Video)

Following Bruce Nauman’s seminal performance Walking in an Exaggerated Manner Around the Perimeter of a Square (1967) – which sees the artist carefully trace a small delimited area of his studio exaggerating the movements of his hips as he places one foot in front of the other – Idir reproduces these performative gestures in Algiers, Algeria. Idir continues the artist’s previous work on ‘hittistes’, which translates as someone who spends their day with their back to the wall, the city’s unemployed and the gestures proper to them. In collaboration with cinematographer Babette Mangolte, Carole Douillard’s performance takes place across three emblematic sites within the city: Bab El Oued, Les Sablettes and Diar Es Saâda.

Sculpture (Sculpture)

The installation work Men from Hyperion and Women from Phoebe (2011), for examples, features six guitars mounted on steel crossbar stands and connected to one another with slack wires. The electric guitars’ faceplates have been removed, revealing the built-in circuitry and electric pick-ups hidden under the surface. A DIY electronic circuit controls various sounds produced by the installation, while a pair of headphones allows participants encounter the work to engage on a different sensorial level.

Installation (Installation)

wombmate! by Mithu Sen is part of a project called AºVOID. In this fragmented mental map, the landscape is fleeting, embossed, and ethereal; there are moments of recognition and also a near-violent sudden emptying of memory.

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.

Drawing & Print (Drawing & Print)

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.

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.

Film & Video (Film & Video)

Sexy shows Yan Xing unsuccessfully trying to reach orgasm in freezing temperatures among the falling rocks and howling winds of a precarious canyon. His erotic failure leaves the voyeur-viewer unfulfilled and disappointed. The work explores notions of identity, masculinity, sexuality, voyeurism, and cultural taboos.

Film & Video (Film & Video)

Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel. The video is largely silent until violent crashes and female voices overwhelm the viewer, portraying the inner voice of a woman who is brutally gang raped. Malani addresses the fatal place of women in Indian society and the geo-politics of national identity.

Photography (Photography)

The title of this series – Two videos, three photographs, several related masterpieces and American art – is paradoxical, suggesting the work is conceived in relation to its medium and a situation in art history and the region of the world in which it was made. Paradoxical but in the end, often true of the way in which art history is written. The presence of black men and the term “American Art” brings us back to Robert Mapplethorpe’s Black Book .

Film & Video (Film & Video)

Monteverdi Ici by Laure Prouvost is a non-narrative video work that depicts the back of the artist’s naked body standing, with her back towards the camera in a field. Her bare arms gesture outwards and forwards, as if her movements are influencing the wild flowers billowing in the foreground. Alternating between the artist’s body and imagery of leaves, flowers, cats, and caterpillars, Prouvost speaks directly to the viewer, stating: “The world behind that field would be here, the world would enter through here”.

Photography (Photography)

As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa. Members of the LBGTQI community who suffer from continuous attacks — “corrective” and “curative rapes”, physical and psychological assaults, and hate crimes — Muholi works from her own community to create strong and positive images of empowered individuals. As visual statements, her photographs seek to dignify the members of an often hidden, voiceless and marginalized community.

Photography (Photography)

As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa. Members of the LBGTQI community who suffer from continuous attacks — “corrective” and “curative rapes”, physical and psychological assaults, and hate crimes — Muholi works from her own community to create strong and positive images of empowered individuals. As visual statements, her photographs seek to dignify the members of an often hidden, voiceless and marginalized community.