14:59 minutes
The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation. In a contemporary Indian society beholden by strongmen, Abidi uses Sutar’s studio to fictionalize a sculptor producing commemorative works for populist, preening figures, surrounded by the likenesses of idolized politicians of the post-colony. Abidi’s video presents one such aspirational bureaucrat, trailed by a cadre of lackeys who fawn over the varying statues that are laboriously carted out for his approval. Never satisfied with his depiction, he works his way through a variety of increasingly ridiculous poses, the work a biting critique of the infallible facade produced through monumental imaging. Using the active mechanisms which concretize the reification of political figures, Death at a 30 Degree Angle intimately dissects the nationalist construction of political identity in India, to reveal the labor and profound inanity that lies beneath. All the while, scattered prototypes of Gandhi take in the bluster of the politician and the chaotic action of the shop assistants, invoking Gandhi’s own humanist reputation and famous image as aspirational. A complex doubling specter emerges over the actions of the politician, registering larger questions about India’s increasingly populist turn in juxtaposition with the lionization of early figures in the independent nation, which was notably marred by ethnic violence. Set in an uncertain state of action, Death at a 30 Degree Angle paints a scathing, cautious picture of the visual rhetoric of contemporary Indian politics. Death at a 30 Degree Angle mobilizes the searingly critical direct address that motivates portions of Abidi’s work. In its fictionalized account that dramatizes a disturbingly probable event, it radiates uncertainty about the efficacy and direction of apparatuses of power and control in India. Focused on an overtly political resonance, Death at a 30 Degree Angle highlights the emphasis on transformative, critical approaches to potentiality that her work has recently employed to grapple with politics, inequalities, and cultural differences in South Asia.
Bani Abidi’s practice deals heavily with political and cultural relations between India and Pakistan; she has a personal interest in this, as she lives and works in both New Delhi and Karachi. The artist’s subject matter ranges from border tensions to immigration conflicts, cultural diversity, and the relationship between private and public space. She works in the media of video, photography, and drawing.
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
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...
Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
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...
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...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
The central point of Vanishing Point is the most direct physiological reaction of the body to the environment...
This work presents the image of an immolated monk engraved on a baseball bat...
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...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
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...
Mariana Castillo Deball’s set of kill hole plates are part of a larger body of work problematizing archeological narratives, and drawing attention to the conservation process and its role in recreating an imagined object...
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
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...