Ante la imagen

Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...

Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement...

After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...

Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...

Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...

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....

With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...

Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...

In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...

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...

After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...

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...

Untitled consists of a small wooden sculpture that leans against a wall...

Mateo Lopez uses paper as a medium to conjure personal experiences...

Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...

The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...

Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...

In Kan Xuan’s four-channel video Island , a series of objects like nail clippers, hairbrush, toothpaste, and house decorations are shot in close-ups...

Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...

With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...