In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry. When his rubber trees died from disease and his primarily indigenous workforce revolted, his enterprise went busts within a few short years. Ford never faulted his own planning, but instead blamed the “inhospitable” Brazilian landscape. These topographical maps present different locations related to Fordlândia’s history: a current Fordlândia satellite image of the abandoned rubber plantation built by Ford in 1928, juxtaposed with postindustrial landscapes from Detroit, Dallas, and Los Angeles, is printed on the back side of the folded mapsculpture.
Clarissa Tossin’s photographs, videos, and installations are active investigations into the workings of urban planning and labor politics. The artist draws poignant parallels among historical events, creating engaging narratives that are also often subversive. Many of her works are concerned with what could be called a topography of place. Focusing on the promises, legacies, and failings of modernity, globalism, and utopian idealism, much of her work concentrates on cultural and economic connections between the United States and Latin American countries. Tossin’s most recent artwork, Archaeology of the Present, investigates the link between Indigenous civilizations and current Los Angeles via the lenses of gender and appropriation.
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
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...
For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
De sino à sina (From Bell to Fate) is a six-channel sound installation by Carla Zaccagnini exploring the relationship between modern Brazil and its colonial past...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...