Sculpture (Sculpture)

Ghost 1: Drowning is not a poem but is not not a poem either by Jota Mombaça is part of a series of sculptures exploring water’s restless, elemental properties and what the artist describes as “the radicality of sinking”. For this project, Mombaça produced three sculptural linen works in collaboration with the waters of the San Francisco Bay (in Berkeley), the San Pablo Bay (in Richmond), and the Pacific Ocean (in Bolinas), wherein the artist submerged linen in these local waters for three to seven weeks, then dried, and installed the materials on metal armatures. Mombaça’s subsequent video waterwill (2023) is composed of various footage from the sinking, floating, and unsinking of these sculptures and those from previous connected performances.

Drawing & Print (Drawing & Print)

As in other Mauss’ works that often look unfinished, the drawings in Untitled seem ever at the phase of the sketch, his segments as if they may uproot and reorient themselves at any moment. Caught in this perpetual sort of unresolved action, Mauss’ works revel in ambiguity and indeterminacy.

Film & Video (Film & Video)

For Piedras Blancas , arguably his most ambitious and visually arresting video to date, Miguel Angel Ríos made 3,000 “piedras” out of a concrete/stone composite. The video is shot in arid, mountainous locations in Mexico (his adopted country) and Argentina (his home country). Over several months, Ríos scouted locations for natural-worn tributaries where he eventually allowed these balls to then thunder down the mountain.

Photography (Photography)

Kovanda’s ‘discreet’ actions (leaving a discussion in a rush, bumping into passers-by in the street, making a pile of rubbish and scattering it, looking at the sun until tears come…) are always documented according to the same format: a piece of A4 paper, a concise typewritten text, and sometimes a photograph taken by someone else. This action, walking abnormally slowly, questions the place of the individual within the space of a city with regards to social habits. Kovanda places himself slightly outside the regulated rhythm of the city walking.

Film & Video (Film & Video)

Landslides is a cinematographic essay/poem by Caroline Déodat in which fictional images are the result of research into the memories of a Mauritian dance born during colonial slavery, the Sega. In the film, the contemporary Mauritian dancer Jean-Renat Anamah crosses mythical landscapes of the Sega that merge with intimate territories. From the pixels of the digital image and the signals of electronic music, this film exhumes in layers of landscapes the spectres of a ritual erased by history through a personal genealogy: between haunting memory and deferred archive.

Film & Video (Film & Video)

The artist films a horse dressage session at night, in a dimly lit manège. In this video the artist recalls the importance of traditional equestrian portraits in Spanish painting and relates to the repetitive passage between the rider and the mount. This effect of repetition is accentuated by the video played in a loop and the fixed framing of the image shot from the ground, with body posture and dressage themes as a method for training and obedience.

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.

Photography (Photography)

Like many contemporary photographers who play with the codes of realism, Valérie Jouve composes her images, having already a more or less predetermined result in mind, in order to deliver a complex representation of the world instead of a bold presentation of facts. A part of the series “Les Figures”, this “portrait’ of P. Faure carries a strong ambiguity, typical of the photographer’s images, between realism and mise-en-scene . This photograph is exemplary of Valérie Jouve’s work: inscription of an inidual within an urban landscape, relation to architecture, simplicity of composition and strong, yet imprecise narrativity – related in part to seemingly familiar characters or places.

Drawing & Print (Drawing & Print)

“School of the seven Bells (SOTSB)” is based on a series of hands games in which an object is passed from hand to hand. The performance is a reference to the film by Robert Bresson, “Pickpocket”, where a group of pickpocketers play with their victims. The artwork, through the actions of the hands, is an interrogation into space and time, questioning the relationship between public and private space, the establishment of communication through the body and visual exchange and gestures between aggression and sensuality.

Photography (Photography)

These photographs document the hand and facial gestures in Moe Satt’s performance F n’ F (Face & Fingers) . Whistling and wearing minimal clothing within a bare gallery space, Moe Satt performed a choreographed sequence of gestures based upon those he observed on the streets of Yangon, Myanmar. Each photograph is simple, showing only the artist’s face and hands with a title and caption that describes the meaning of the documented gesture.

Film & Video (Film & Video)

Agatha Gothe-Snape’s POWERPOINTS is an ongoing series of digital artworks that have been created with Microsoft PowerPoint. They are endless loops with sound. POWERPOINTS parallel Gothe-Snape’s broader conceptual practice stemming from improvisational performance.

Sculpture (Sculpture)

Javier M. Rodriguez’s Going Round and Round in a Line ST (12m) is a sculptural composition made of the simplest materials—a single tape measure and metal rivets. The rivets lock the tape measure in its contorted shape, bending in angles to create a geometric abstraction. The piece hangs simply from the ceiling, at times rotating around, its shape changing with our point of view.

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.

Painting (Painting)

The ongoing “Sea Paintings” series is central to the practice of Jessica Warboys. The series plays with the notion of ritual, performance, nature and consequence. The artist realises her “Sea Paintings” on the Zennor coast, near St Ives, where she emerges the canvas in the seawater, allowing the waves and the wind to mix the raw mineral pigments that have been applied by hand to damp folded canvases.

Film & Video (Film & Video)

Through the language of dance and choreography, Void by Joshua Serafin narrates the creation of a new God, the birth of a futuristic deity. Serafin’s research into the making of this dance video is centered around creation myth stories of pre-colonial animistic religions from the Philippines, which were suppressed by the Spanish imposition of Catholicism. Through movement, the materiality of his bodily presence on the screen, and the accompanying sci-fi soundtrack, this work proposes the foundation of a queer mythology; the nascent moment of a ‘queer spiritual force’ coming out of an apocalyptic era, perhaps our current one, that has arrived to refund a new kind of humanity.

Sculpture (Sculpture)

Hopf’s works reference the effects that developments in economics and technology have had on our bodily and mental composition. With her series Laptop Men she presents a humorous reading of the way we interact with computers, and the growing tendency to perceive them as part of our bodies. This takes place against a backdrop of an increasing dependence on implants and prostheses among the human species.

Film & Video (Film & Video)

This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing. An impossible attempt at achieving a fixed state, some objects remain buoyant and some objects sink, constantly tilting the overall scale and arrangement. Properties of weight, mass and shape have their own will but a hand appears in the scene, pushing back on these mysterious forces.

Film & Video (Film & Video)

Rond de Jambe by Aimée Zito Lema is a series formed by two works: a three-channel video installation and a live performance. Each component in this project approaches the same subject matter through a different medium in order to investigate politics as they are made manifest in and through the body. Using archival footage of protests of the Stopera building project in Amsterdam as a starting point, artist Aimée Zito Lema worked with dancers to translate the protest movements into a choreography.

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.

Falling Wall is choreography consisting of a wall, three performers wearing uniforms, and a short ritual. The performers stand aligned in front of the wall, which suddenly falls, menacingly, in the direction of the viewers. The synchronicity of collapse echoes the possibility of transgressing borders such as state frontiers, or even the museum wall.

Painting (Painting)

Caetano de Almeida’s abstract compositions in acrylic use delicately-rendered swirls of overlapping, colorful lines. Intersecting at regular angles within six bubbles, these thread-like lines spiral chaotically outward once they leave these spheres of order. De Almeida’s abstractions don’t imply randomness and chaos, the way much abstract painting might, but rather seem tied to algorithms, precision, and the networked realities of the contemporary moment.

Drawing & Print (Drawing & Print)

Violinist

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.

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)

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.

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.

Sculpture (Sculpture)

A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work. Following Haegue Yang’s 2010 anthropomorphic series Medicine Men, this sculpture appears as a shamanic objet or being. It is mobile and can be activated.