Photography (Photography)

Fathers #18 and Fathers #27 is part of a series of photographs and videos made in recent years in Gaza. Batniji addresses the representation of the over-identified human and physical space with the geographical and political situation in the region. He distinguishes himself from the fictions that have been previously created in the Middle East and offers a quieter and more retained vision of the of the intertwining tensions and oppositions in this area.

Drawing & Print (Drawing & Print)

Nagtzaam’s medium is drawing and his repertory of forms varies from abstract hard-edge and wall drawing to the reproduction of written material that he collects from art magazines. The artist uses abstract architectural elements that he reproduces on the wall in which he inserts drawings, elements from photographs and drawings of texts collected from art magazines. The repetition, control and imperfection of the movements create a tension, a particular vibration in his geometrical drawings and in the drawings of texts.

Film & Video (Film & Video)

Lens Flare and the series Untitled Basel Lens Flare (6168, 5950, 7497) were part of a solo project by the artist presented at ArtBasel in 2009. Included in the Kadist Collection, these works continue to explore the ontology of the image to investigate the relationship between painting, photography, and a new time-based variable: film. Reduced here to the essential function of recording the exposure of light through the apparatus of a lens, Kantor then translated these film stills into painted colored canvases that retain the 3:4 aspect ratio of the 16mm film as well as the exact size of the projected image.

Drawing & Print (Drawing & Print)

One Day in the Mountain is a bilingual calligraphic performance piece written in ink superimposed with food leftover from a meal. The eponymous text: “One day in mountain is worth two thousands years in the world.” is written horizontally from left to right in both English and Chinese, following the writing order of modern Chinese instead of the traditional vertical right to left. With the word “is” migrating from the middle of the English phrase to be surrounded by Chinese characters, the resultant text appears to be spatially illustrating the meaning of being isolated in the mountain.

Painting (Painting)

This is one of the most important works Schoorel has made to date, a triptych that has as its subject matter a garden scene with what looks like a pond. One of her largest works, it seems highly suited to a Parisian collection where Monet’s Nympheas in the Orangerie represent the summit of treatments of such subjects. Typically for Schoorel, the painting is as much about absence as presence and examines the amount of information the viewer needs to construct meaning.

Painting (Painting)

Bernard Piffaretti was born in 1955 in Saint-Etienne. He graduated from the school of Fine Arts of Saint-Etienne, and he now lives and works in Paris while expanding his carrier internationally. Like On Kawara, Stanley Brouwn or Roman Opalka, Bernard Piffaretti is also a “protocol artist”.

Film & Video (Film & Video)

Designed as an installation timed spent is determined by the viewer, as with classical sculpture, Anthems is a piece that is in place, and in time, and an important genre of video within the collection. It is the overlapping of the beautiful with the impact of military ritual and pomp. The use of the sculptural props and again sound (the ideal presentation of this work is with surround sound) create a composition as visual as it is aural.

Drawing & Print (Drawing & Print)

9’oclock (my time is not your time) pertains to a series consisting of three numbers: 5, 10 and 11 works were made for the exhibition “Signs and messages from modern life” at the Kate McGarry Gallery in 2007. The notion of time is a recurring theme in Tobias Rehberger’s work. We can recall the exhibition ‘Night Shift’ at the Palais de Tokyo ( Paris) in 2002 where the works could be seen only from the angle of the sun, exploring the relationship between day, night, and other natural cycles like the sun and moon, life and death.

Painting (Painting)

Mogeji’s Journey (2014) depicts three hand painted stills from an animated sequence in Aki Kondo’s film Hikari (Light) (2015). Kondo’s film tells the story of a young woman named Juneko who discovers that she is terminally ill and the ways that this impacts her lover, a painter, who tries to reconnect with her by painting her portrait from memory. As Juneko becomes sicker, her hair begins to fall out, a symptom of her unnamed illness.

Film & Video (Film & Video)

The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009. In this film, Aiken’s allusion to “the frontier” and iconic imagery like the cowboy suggest that the American West Coast as a cultural construction. These notions are reinforced by two key elements in the film: its protagonist, the iconic West Coast artist Ed Ruscha, and its reference to the cinematic and the experience of the movie theater.

Film & Video (Film & Video)

Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future. The video follows a moped carrying a woman holding a very large mirror. The mirror is large enough that she can’t see what lies ahead, she can only see what has already come as reflections in the mirror.

Sculpture (Sculpture)

Libro Azul (Ayer-Mañana) (Blue Book (Yesterday-Tomorrow))

Film & Video (Film & Video)

In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second. In a way, this work both examines the construction of history and the history of the influential magazine, which was founded in 1923. In addition to the play on “time”—one of Thomson’s ongoing obsessions—this piece highlights and continues the artist’s encyclopedic impulse, also seen in The White Album (2008), to record the history of the spaces he inhabits.

Installation (Installation)

Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself. The title of the piece comes from the literal translation of René Magritte’s painting from 1938, La Durée Poignardée , whose more familiar translation is “Time Transfixed.”