Christine Sun Kim is an American artist based in Berlin. Working predominantly in drawing, performance, and video, Kim’s practice considers how sound operates in society, deconstructing the politics of sound, and exploring oral languages as social currency. Musical notation, written language, American Sign Language (ASL), and the use of the body are all recurring elements in her work. She further uses sound to explore her own relationship to verbal languages and her environment.
The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
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....
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
Nugroho’s installations and performances have their roots in the shadow puppet rituals in Indonesia, particularly the Javanese Wayang tradition whose essence is in the representation of the shadows...
Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...