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.
Ranu Mukherjee is a multi-disciplinary artist whose practice includes hybrid films, works on paper, and collaborative projects. Her work focuses on processes of creolization, the figure of the nomad, speculative narratives, and the visual and political history of nineteenth-century Indian lithographs. Mukherjee’s work also generally refers to embodiment, ecology, science fiction, and the unknown to explore the narrative excess and material conditions brought on by global capitalism.
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...
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...
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
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...
In 1940 Rivera came to San Francisco for what would be his last mural project in the city, Pan-American Unity ...
The Simpson Verdict is a three-minute animation by Kota Ezawa that portrays the reading of the verdict during the OJ Simpson trial, known as the “most publicized” criminal trial in history...
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
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...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
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...
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...
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Hand Palm Echo 1 is a digital animation based on Christine Sun Kim’s staircase mural at The Drawing Center in New York (10 March – 22 May, 2022)...
In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects...