Drawing & Print (Drawing & Print)

Nos visages ( Our Faces ) continues Nidhal Chamekh’s research around visual souvenirs of figures of the past and the light they might shed on our contemporary era. For this series of drawings, the artist draws from articles of French colonial propaganda, specifically the magazine Le Miroir , founded in 1910. In these documents Senegalese and Berber “infantrymen” participating in the First World War were represented in a way that situates them “somewhere between the ethnographical survey and the hackneyed colonial and orientalist image” says Morad Montazami.

Film & Video (Film & Video)

For 7 Materials , Tao Hui films seven scenes selected from the countless scenarios in his notebooks, including a group of ethnic minority girls in a spoil pit in the rain, a reporter interviewing a corpse, and a deity sailing on the river. Due to the lack of internal logical order, these one-minute video “materials” are not played in a fixed sequence but randomly. For Tao Hui, to film his diary is to adorn and embellish his memories before evoking and reviving their spirits.

Painting (Painting)

This painting is the direct result of the artist’s research into her roots. Kudzanai-Violet Hwami sought to find a way to immerse herself in present-day Zimbabwe, spending a month at an artist-run space Dzimbanhete on the outskirts of Harare and living with a traditional healer. According to the artist, the experience left her feeling othered by the inability to fully integrate herself into the place she called home.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Film & Video (Film & Video)

Mixed clips from her collection of thousands of images found online, the three-channel video Weather Forecast is an inquiry into the necessity of a physical movement (a travel) for our identity to transform or change. The question “Why can’t we view Europe from a chair?” periodically punctuates the video, suggesting that a similar personal transformation could occur by experiencing a place through the Internet and staying in the same place. Few episodes appear, each being a transformation process in itself, either by correlation, juxtaposition, combinations of specific matters such as iconography, texts, landscapes, events.

Sculpture (Sculpture)

Typical Weapons is a series of sculptural interventions where Alejandro Marre transforms traditional Guatemalan craft objects usually sold as souvenirs into weapons. Wooden flutes, hacky sacks, and musical instruments are woven with rope to appear as nunchucks, slingshots, and other forms of armament. Designed to be exhibited as objects from an archaeological museum, the previously innocuous representations of Guatemalan popular culture acquire darker meanings as they come to symbolize the brutality and extreme violence that now mark the country.

Photography (Photography)

Office Lady with a Red Umbrella restages a figure from a 1980 postcard made from a photograph from 1950’s. The retro-glamor of the 1950s style is restyled devoid of the original context of a Hong Kong street scene, where the “office lady” is walking on Queens Road of the Central district. With the “office lady” facing away from the viewer with a bare background, an introspective tone is created in Leung’s restaging while highlighting the red umbrella resonating with a red pencil skirt emblematic of the identity of the professional urban woman when Hong Kong was under British rule.

Installation (Installation)

30 Proposals of Flag explores the relationships between signs, meanings, aesthetics, and nations. The artwork consists of 30 flags layered together and hanging from the ceiling. Each flag is illustrated with Jao’s rendition of a possible coat of arms derived from Taiwan’s economic and political history.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

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.

Photography (Photography)

The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together. These houses are more than just places of survival; they are a physical embodiment of radical queer expression that encourage solidarity. The Royal House of Allure was initially conceived following an investigation of how social media influences celebrity culture.

Photography (Photography)

Collier Schorr’s prints upend conventions of portrait photography by challenging what it means to “document” a subject. American Flag (Scratch) (1999), for example, depicts an unidentified male subject clad in an American flag-print singlet. With his head and extremities out of frame, the camera focuses on his flush-red torso, his left nipple protruding from the singlet’s strap.

Painting (Painting)

Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro. Although the yellow, blue and red stripes on the first flag are faithful to the original, the second flag at the center has been modified to feature the word Colombia, emulating the typography and white-on-red design of the iconic Coca-Cola brand. Caro’s first version of this logo was a 1976 graphite drawing, and he has since produced several variations in different materials.

Photography (Photography)

Like many of Opie’s works, Mike and Sky presents female masculinity to defy a binary understanding of gender. The very practice of being photographed raises many complex issues around gender performance and the relationships between an inner self and an outer public persona. Even though Mike and Sky are cropped and obscure one another, many of their choices for self-presentation—as emphasized by their tattoos—remain visible.