NFT (NFT)

Ian Cheng’s project 3FACE is based on a model that is derived from both the artist’s extensive readings on psychology and cognition, and his own intuitive understanding of how people function. 3FACE positions the process of minting a generative NFT as a metaphor for personality development. While part of a series, because of the responsive coding, each NFT is unique and is informed by the contents of the owner’s wallet.

NFT (NFT)

Ian Cheng’s project 3FACE is based on a model that is derived from both the artist’s extensive readings on psychology and cognition, and his own intuitive understanding of how people function. 3FACE positions the process of minting a generative NFT as a metaphor for personality development. While part of a series, because of the responsive coding, each NFT is unique and is informed by the contents of the owner’s wallet.

NFT (NFT)

Ian Cheng’s project 3FACE is based on a model that is derived from both the artist’s extensive readings on psychology and cognition, and his own intuitive understanding of how people function. 3FACE positions the process of minting a generative NFT as a metaphor for personality development. While part of a series, because of the responsive coding, each NFT is unique and is informed by the contents of the owner’s wallet.

Film & Video (Film & Video)

The Interrogation is a video constructed entirely from still film photography and photoshop collage — playing out as a photomontage along with a voiceover. By using still photography instead the moving images, Wang Tuo creates room for the audience’s imagination. The voiceover produces a rhythm to enhance the tensions in the work.

Film & Video (Film & Video)

The video installation Le Fou Postcolonial Insane by Guy Woueté is a series of five videos that examine the concept of insanity in the post-colonial Democratic Republic of Congo. The first three videos in the series were shot in a market place in Lubumbashi, the second largest city in the Congo, where several psychoanalysts explore mental health in the context of the Congolese public sphere. Throughout the video series, Woueté links this public health examination to memories of colonial history.

Installation (Installation)

Referencing psychology, philosophy, and spiritualism, A series of personal questions addressed to a Hikimawashi kappa traveling coat by James Webb is an ongoing series in which the artist poses spoken questions to objects via a speaker installed near the object on display. The questions are addressed to the objects as if they were sentient beings able to respond. Each question is left hanging, unanswered for approximately 10 seconds before the next question is posed.

Drawing & Print (Drawing & Print)

Head in Hands by Joe Biel is part of a larger series of drawings made in connection with the book of short stories Navigating Ghosts by Annie Buckley. Biel’s small-scale black and white drawing features a torso holding their own head in their hands, though the expression on the bodiless face maintains a serene sensibility. The edges of the drawing around the figure’s neck and torso are softened so that the figure appears ghostly, as if the character is an illusion or dream.

Film & Video (Film & Video)

Almost One by Jeamin Cha dives into an uncomfortable meditation on the relationship between socialization, performativity, truth, and childhood, filtered through the optics of a children’s acting class in South Korea. Such a context possesses a loaded set of connotations due to the meteoric rise of Korean entertainment industries. Acting or singing academies have increasingly attracted negative press for their intensity and cutthroat standards, a system for producing talent with little emotional concern for its offspring.

Film & Video (Film & Video)

In the video Unit/y we see Amapola Prada in the center of the screen wearing an oversized, worn out sweatshirt, socks and flip-flops—standing motionless on a dimly lit street in her native Lima, Peru. As the video progresses, people, stray dogs, and cars pass by unbeknown to her presence, inescapably fulfilling their roles in the everyday. The title of the work gives us a clue.

NFT (NFT)

Ian Cheng’s project 3FACE is based on a model that is derived from both the artist’s extensive readings on psychology and cognition, and his own intuitive understanding of how people function. 3FACE positions the process of minting a generative NFT as a metaphor for personality development. While part of a series, because of the responsive coding, each NFT is unique and is informed by the contents of the owner’s wallet.

Painting (Painting)

The impressionistic surface of Wild Money (2017) recalls the 1950s paintings of Philip Guston. Its creases recall human skin, while the filigree pattern of red skeins implies what lies beneath. The body is fully implicated in this work.

Film & Video (Film & Video)

After the Finish Line is a recent film by Adelita Husni-Bey produced for the exhibition Movement Break at Kadist-SF in 2015. It was developed in collaboration with a group of teenage athletes who have experienced injury as a result of their respective sporting activities. Through radical pedagogical practice, a process that attempts to de-individualize feelings of failure, the artist and the athletes recorded their experiences, discussing the meaning and trappings of competition — and in particular, from where desires for success stem.

Installation (Installation)

Mandy El Sayegh grew up in a medicalized environment, surrounded by anatomy, biology and psychology publications; these books inspire the figures that appear throughout her work. The work White Grounds 12 offers a bird’s eye view of a skull open from the front, belonging to a patient diagnosed with dementia who is suffering from self-inflicted wounds. White Grounds 10 depicts the body of an injured worker in China.

Painting (Painting)

Kadar Brock creates dynamic abstract paintings that are born from a process of painting, scraping, priming, sanding, and painting again. Retaining a commitment to his established process, Brock layers paintings about personal memory, family history, and iconographies of New Age religion, alongside representations of masculinities found in the characters of American and Japanese comic books and film. The physical and emotional process of creation, often taking place over many years, enables a reverse archaeology of the self and renders a delicate balance between body, memory, and psychology.

Film & Video (Film & Video)

In collaboration with psychoanalyst and cultural theorist Leon Tan, Receding Triangular Square explores traditional Chinese and Taiwanese modalities of psychological healing as alternatives to dominant Western psychiatric and therapeutic practices. By juxtaposing the differing modalities, Hallberg and Tan make connections between psychological practices and histories of colonization and de-colonization. They challenge Western scientific standards of universality, rationality, and truth.

Film & Video (Film & Video)

In Amapola Prada’s work Movement, we see three spotlit, female bodies lying inert in a darkened room, alongside three dressed, standing figures holding long, wooden spoons. Looking over the static bodies, the standing figures place their spoons in-between the women’s legs and begin moving them in circular, rowing-like motion, like the oars of a boat. The psycho-sexually charged nature of Movement is illustrative of Prada’s dream-like works, which often relate to the subconscious and other internal processes with which we express desires, tensions, and latent emotions.

Painting (Painting)

The series Clouds paintings by Benoît Maire features oil on canvas works in varying format, in which the artist depicts clouds, using a variety of tools, including a spray gun, paintbrush, or palette knife. The cloud motif in this series of paintings questions the limits of abstraction by playing with the concept of pareidolia—a psychological phenomenon by which we recognize familiar shapes in landscapes, clouds, or ink stains. Through his careful composition and use of pentimenti, Maire invites the viewer to project their imagination onto these colorful clouds.

Film & Video (Film & Video)

n the opening scene of the video Power (La Fuerza) we see a mature woman asleep in a dark room. Prada slowly becomes visible as she crawls into the bed and affectionately positioning her body next to the sleeping figure. Prada then proceeds to undress the woman’s chest and ‘feed’ from her breast.

Installation (Installation)

Masterpiece in the Water by Lu Pingyuan tells the story of an impatient collector who is killed by an artist. This murder becomes an artwork in of itself as the story within the story sheds light on the psychological anxieties faced by soldiers during war time, the family bond, and the paranormal. This playful, yet violent, story explores the amusing similarity between supernatural events and the creation of artistic ideas, while reflecting on the complex relationships that exist within the art world.

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.

Photography (Photography)

Olive Oil (from the Propo Series)