22 x 30 in. / 8.66 x 11.81 cm
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.
Mumbai-based Shilpa Gupta’s practice crosses disciplines and media to include interactive videos, websites, objects, photographs, sound, and public performances. Probing and examining themes such as desire, religion, tradition, gender, global capitalism, social injustice, security, borders, and power, Gupta actively engages herself with the political and cultural world around her.
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
The video Interrupted Passage presents a performance Morales staged in the former home of Mariano Guadalupe Vallejo, a mid-nineteenth-century Mexican general serving in California...