Painting (Painting)

Trayvon is a series of acrylic paintings by Mona Marzouk that engages the courtroom as its points of departure. The courtroom as a space for the implementation of justice and of legal argumentation, but also through which different affective forces, some hegemonic and others marginalized, battle each other out in their respective quests for acknowledgment, accountability, and retribution. The work was produced at a time during which several popular revolts, such as in Egypt, seemed to have effectively been hijacked by reactionary forces, resulting in the violent dismissal of collective demands for emancipation, including through sham trials and wrongful convictions criminalizing activists, journalists, and protesters.

Film & Video (Film & Video)

Emmanuel van der Auwera visited Miami at the end of 2017 and was working on a project relating to school shootings. Two months later, on 14 February 2018, 19 year old Nicolas Cruz killed 17 people and injured 17 others in a shooting at the Marjory Stoneman Douglas High School in Parkland, Florida. Van de Auwera began to follow videos uploaded to the Periscope App, a live broadcasting channel that closed in March 2021, downloading them and creating a bank of data that would otherwise disappear, as material on Periscope was self-deleting after a short period of time.

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

Painting (Painting)

Trayvon is a series of acrylic paintings by Mona Marzouk that engages the courtroom as its points of departure. The courtroom as a space for the implementation of justice and of legal argumentation, but also through which different affective forces, some hegemonic and others marginalized, battle each other out in their respective quests for acknowledgment, accountability, and retribution. The work was produced at a time during which several popular revolts, such as in Egypt, seemed to have effectively been hijacked by reactionary forces, resulting in the violent dismissal of collective demands for emancipation, including through sham trials and wrongful convictions criminalizing activists, journalists, and protesters.

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

Film & Video (Film & Video)

Dislocation Blues by Sky Hopinka is a portrait of the 2016 Standing Rock protests against the Dakota Access Pipeline in South Dakota. Working against grand narratives and myth-making, Hopinka attempts to provide a clear look towards the participants of the protest movement and the protectors of the water – their testimonies, reflections, and histories. In the film, Cleo Keahna tells about the everyday life of the camp and its difficulties and Terry Running Wild shares his dreams for the future.

Photography (Photography)

Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia. In the game, young men climb a wood post smeared with animal wax to collect a Panamanian flag in return for a bounty. During what is now remembered as Martyrs’ Day, Panamanian students trespassed the fence that separated the American-governed strip of land along the Panama Canal and Panama City to fly a flag and symbolically claim sovereignty over the area that had been turned over to the United States by the Hay–Bunau-Varilla Treaty in 1903.

Film & Video (Film & Video)

Of Dice and Men is a video diary-essay: in it, Didem Pekün’s daily life and political events are intertwined, just as they are in our individual realities. Displayed on two screens, the video brings us back and forth between London and Istanbul from 2011 to 2016, the two cities the artist inhabited at the time. Dice are thrown repeatedly throughout the video, each time triggering the occurrence of fleeting moments – sometimes very common, sometimes very violent.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Painting (Painting)

Although the objects depicted in Titus Kaphar’s diptych 2016/1963 might not be immediately recognizable, the work’s title and the inscriptions ‘Alabama 1963’ and ‘North Dakota 2016’ reveal their use as tools of brutal force. The work with the inscription ‘Alabama 1963’ is a painting of the nozzle of a high-pressure water jet that the Birmingham Police used against black protesters, including children, during a non-violent campaign against racial segregation led by Martin Luther King JR. during the civil rights movement. The second painting depicts the nozzles used against protestors that in 2016 opposed the plans to build the Dakota Access pipeline near the Standing Rock Indian Reservation, many of whom were seriously hurt and left soaking wet during freezing temperatures.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Installation (Installation)

Peter Friedl’s projects place aesthetic questions within an expanded field that takes into account the social, political and philosophical context. This textile piece quotes and diverts a flag with a red background and the central star of the Kurdistan National Liberation Front (ERNK, a military organization linked to PKK, founded in 1985 and disbanded in 2000), and not the national flag of Kurdistan. The artist became interested as from 1994, when the town of Lice was destroyed by the Turkish army and the PKK was expelled from Germany.

Photography (Photography)

Occupy HK 2014 is a series of 18 photographs that Xyza Cruz Bacani’s shot at the height of the Umbrella Movement in Hong Kong. At the time, the Umbrella Movement was considered the largest social unrest defending the democratic aspirations of Hong Kongers, who flooded the streets to demand universal suffrage. The protestors even managed to block Hong Kong’s main highway for months, freezing Asia’s financial centre.

Photography (Photography)

In the work We only move wehen something changes !! !, Olaf Breuning composes a portrait of posed antiglobalization protesters, each wearing clown noses, inside of a scene reminiscent of an event. Like in the work Easter Bunnies (2004) (photographs of the Moai of Easter Island with big ears and rabbit teeth supported by scaffolding) the artist introduces the outside frame into his photographic frame.

Drawing & Print (Drawing & Print)

Art of War 1, City in Broad Daylight, Leaving the House, Justice is a Virtue, and Lions are Stronger than Men are linocut prints from the series Sultana’s Dream . This series by artist Chitra Ganesh comprises a large-scale narrative suite inspired by a 1905 feminist utopian (eponymous) text written by a Bengali writer and social reformer, Rokeya Sakhhawat Hossain. Educated thanks to the support of her elite family, Hossain was one of the few Bengali women of her generation writing in English.

Photography (Photography)

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.

Photography (Photography)

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.

Photography (Photography)

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.

Photography (Photography)

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.

Drawing & Print (Drawing & Print)

The small drawings that comprise Study from May Day March, Los Angeles 2010 (Immigration Reform Now) and We Are Immigrants Not Terrorists are based on photographs taken at a political rally in downtown Los Angeles in which thousands of individuals demonstrated for immigrants’ rights. The protesters and their supporters carried signs and wore t-shirts whose messages are highlighted in the drawings. However, in them, Bowers isolates the images of the protesters from the multitude that surrounds them in the original photographs, and, therefore amplifies their messages.