Alia Farid (Kuwait, 1985)
Hatillo, from the series Mezquitas de Puerto
Ponce, from the series Mezquitas de Puerto
Vega Alta, from the series Mezquitas de Puerto Rico, 2014
Mezquita de Santo Domingo (República Dominicana), 2015
A series of tapestries jointly conceived by Alia Farid and Jesus “Bubu” Negrón. The artists sent photographs of mosques in Puerto Rico and the Dominican Republic, in Central America, to female weavers in the city of Mash, Iran, who turned the images into tapestries. The pieces discuss the strains of contemporary cultural and migratory movements and their role in conveying signs, emblems and customs.
Ana Mazzei (Brazil, 1979)
Speech about the Sun, 2015
Gazing up and down are not mere body movements. Replete with meaning in various civilizations, it is at the origin of knowledge and art, evoking the evolution of the species and the passage from nature to culture. The work proposes a comparison between viewers’ bodies and objects of different heights and scales, inviting them to experience the importance and density of those gestures.
Ana Vaz (Brazil, 1986)
Deep in Brazilian northeastern arid country, the camera follows an enigmatic character as it hides, walks, and crawls through the local vegetation. While she relates events of her life, a male voice is heard exclaiming in the background: “Há terra! Há terra!” [“There is land! There is land!”] Shot in 16 mm, the footage evokes the eagerness of Brazilian avant-garde cinema to explore the country and produce a powerful and generous image of Brazil.
Débora Mazloum (Brazil, 1982)
Jardim de Aclimatação XXI, 2015
Is the garden the metaphor of a paradisiacal utopia, a symbol of our nostalgia for a lost Eden? Starting out from such queries, the work shows archives as stemming from a human impulse for cataloging and conservation, a sign of the desire to control and apprehend that is inherent to our species.
Elizabeth Vásquez Arbulú (Peru, 1990)
Historia del Cosmos, 2013
Based on catechism picture books from the 1970s and ’80s, the video installation covers in a few minutes the entire history of the universe, from the big bang to the present. The voice-over narrates the events in didactic tone, referring to mankind’s capacity for total self-destruction acquired in the 20th century and leaving to viewers the task of confronting the apparent pointlessness of all existence.
Emo de Medeiros (France, 1979)
Video installation / Performance
Oct 7–8, at 3:00 p.m.
At the end of the year, Benin’s youth celebrate Kaleta, a festivity with local masks that resembles a mixture of Brazilian Carnival and American Halloween. The tradition is attributed to former slaves who were brought to Brazil and returned to Benin after taking part in the Bahia Muslim slave revolt in Salvador in 1835. Drawing on the festivity elements, the artist creates an immersive environment that invites the audience to confront their own personas.
Vodunaut #009 (Hyper elder), #010 (Hyperspacer), #011 (Hyperceiver), from the series Vodunaut, 2016-2017
In the traditional religion of Benin, cowry shells symbolize travel. Here, motorcycle helmets covered with shells and supported on small monitors enable a cross between the country’s mythology and ancestral knowledge, and the futuristic imagery of science fiction, a repertoire dominated by the Western culture of developed countries.
Filipa César (Portugal, 1975)
Transmission from the Liberated Zones, 2015
During the war of independence of Guinea-Bissau, the PAIGC party named the territories controlled by the guerilla Liberated Zones. In the video, a young man interacts in the present day with documents and statements concerning the solidary involvement of four Swedish in the course of the historical events that led the country to liberation from Portuguese colonialism in 1974.
Hellen Ascoli (Guatemala, 1984)
Objetos Específicos 1 y 2, 2016
Referencing the huipil, the traditional costume of the indigenous peoples of Central America, the works discuss the heritage in contemporary production of the minimalism championed by the American artist Donald Judd. Based on the idea of sculptures that relate directly to the human scale, they challenge the supposed universality of the body, which is always male in the minimalist group.
Jaime Lauriano (Brazil, 1985)
Morte súbita, 2014
In soccer, the expression means a goal that decides a tied match in extra time. Here it refers to so-called “delinquents” who are detained by the police, an image as common in Brazilian mainstream media as soccer players forming a defensive wall against a free kick. The work brings to light the State brutality that underlies supposedly democratic regimes.
Following the coup that deposed the Brazilian president João Goulart in 1964, the newly installed military dictatorship started producing patriotic slogans, such as the famous “Brazil, love it or leave it,” and enhancing national symbols and dates. The artist works with the basic elements of this marketing strategy to evidence how the discourse and image of a homogenous and pacified country was fabricated.
Köken Ergun (Turkey, 1976)
This video features the annual Ashura celebration, when Shiite Muslims recall the martyrdom of Hussein Ibn Ali, grandson of the Prophet Muhammad, at the Battle of Karbala in present-day Iraq on October 2, 680 AD. Produced in close cooperation with residents of the Zeynebiye district in Istanbul, the footage registers the population’s preparations for the festival, deliberately avoiding an exotic view of the event.
Louise Botkay (Brazil, 1978)
Vai e vem, 2017
The video installation features a visit to the intimate universe of the Hunikui people (Kaxinawà), on the Amazonian border between Brazil and Peru. Deliberately avoiding exoticism, didacticism, and an anthropological-artistic bias, the detailed images and close shots seek sensations to share and reveal ways of life and knowledge.
Mariana Portela Echeverri (France, 1986)
Orgy Mathematics, 2015-2016
A tentacled installation comprising mechanical and static sculptures, photographs, and drawings. By creating a fluid environment in which dream, eroticism, and childhood encounter an abject and utopian rationality, the work strains the ideas of productivity and anarchy.
Mariana Rodríguez (Argentina, 1970)
¿Por qué disparan?, 2016
On September 26, 2014, forty-three students travelling to Mexico City to take part in a demonstration in memory of the Tlatelolco Massacre in 1968 (when dozens of students were killed by the army and police) disappeared in Iguala. Grainy and intermittent images, found in survivors’ cell phones, translate the perplexity at the lack of an explanation of what happened.
Natasha Mendonca (India, 1978)
A transsexual woman is lynched in Jamaica. A cell phone camera records the crowd’s cruel ecstasy. To these images are added scenes of other moments of violence against the same woman, here representing all transsexuals. In the performed images, however, we see her face, which shows, besides suffering, also dignity and resistance.
Rafael Pagatini (Brazil, 1985)
Bem-vindo, presidente!, from the series Fissuras, 2016
An installation based on a compilation of corporate ads published in A Gazeta newspaper from Vitória in 1960–1980. The cuttings relate to the so-called Great Projects that championed commodities exports in Espírito Santo State. Heralding the link between the Brazilian military dictatorship and the private sector, they are reminiscent of a modern project buried under social inequality and environmental disasters such as the destruction of the Doce River, the state’s main watercourse, in 2016.
DOPS, from the series Fissuras, 2016
In this installation, official documents of the Brazilian Departamento de Ordem Política e Social – DOPS [Department of Political and Social Order] are placed in wooden grooves and made available to be handled by visitors. They are images and extracts from a report on the Concílio de Jovens [Youth Council], a left-wing event organized by social movements and the Catholic Church. The random combination disrupts the alleged objectivity of one of Brazil’s main 20th-century repression agencies.
Sammy Baloji (Democratic Republic of the Congo, 1978)
The work records the history of the town of Fungurume in Central Africa, as told by its council of elders. Built amid one of the largest copper and cobalt deposits in the world, its mountains belong today to an international mining consortium whose activities displace the Sanga people from their homes and traditions.
Sasha Litvintseva (Russia, 1989)
The artist narrates how she went into exile with her mother in Turkey, using a replica of the Kremlin built in a hotel as a setting. While tourists enjoy the pool, her memories take us to the surroundings of the Russian fortress, a symbol of State oppression and power struggles. The architectural simulacrum, which is also a historical simulacrum, shelters the journey, whether of leisure, flight, or banishment.
Thando Mama (South Africa, 1977)
Desolation I-V, from the series Desolation, 2015
Five videos retrieve images of police violence in popular revolts in South Africa’s recent history: the student uprising in Soweto in 1976; the miners’ strike in Marikana, 2012; and the protests of the #RhodesMustFall campaign in 2015. The chronological distance between the events contrasts with the persistent brutality of the State. The struggle against oppression is the backdrop.
Thando Mama (South Africa, 1977)
Of Nationhood, from the series Of Nationhood (2015-)
A living human body explores a monument both imposing and pretentious, yet abandoned. Built in the 1980s, the Ntaba ka Ndoda celebrates the heroic past of Ciskei, a country created and dissolved in the attempt to adjust peoples, territories, and traditions to South Africa’s current political division. The video attempts to reassess the eroded construction and reflect on the meaning of a landscape used as a symbol of possession.
Von Calhau! (Portugal, 2006)
EULUSIONISMO ANTILUSIONISTU, 2015
A kind of occult snuff movie, this granular film shot in 16 mm and transferred to HD video alternates naked and dressed bodies and human figures made of flesh or carved in stone, using black and white as pure colors, complementary and distinct. In the installation where the video is screened, the constant ringing of a cymbal immerses viewers into something akin to a pagan ritual made of images and sounds.
Ana Elisa Egreja (Brazil, 1983)
Poça II / Sala de jantar, from the series Jacarezinho, 92, 2016
Closet / Revoada, from the series Jacarezinho, 92, 2016
The artist recreates rooms in the now vacant house where her grandparents used to live, incorporating elements from memory, imagination, and the universe of art history, such as decorative animals and objects. The scenes are photographed and used as model for the painting. The resulting work restores to the real its original dimension of strangeness. The paintings are part of the series Jacarezinho, 92, in which the artist revisits, recreates, and charts her grandparents’ home.
Bárbara Wagner (Brazil, 1980) and Benjamin de Burca (Germany, 1975)
In four acts, dancers combine steps of frevo, a traditional Carnival dance of Pernambuco State, with others typical of contemporary rhythms like funk, swingueira, electro, and vogue. Challenging the purity ascribed to frevo by governments that promote it as a primitive popular expression, the work puts a strain on categories such as folklore, popular culture, and mass culture, besides addressing issues of race, class, and gender.
Cristiano Lenhardt (Brazil, 1975)
Situated between design and sculpture, the work consists of wooden bars that occupy the space and challenge the notions of presence and absence, as well as the temporal aspects implied in those processes. It thus invites the audience to experience different notions of existence.
Elvis Almeida (Brazil, 1985)
Sem título, Sem título, 2016
In the former work, the coating of acrylic paint applied to the wood fades the colored areas, revealing pictorial layers that drive the circular composition. In the latter, two regions of distinct composition give spectators the impression of a visual fold on the flat surface. The disharmony between both parts breaks the perception of wholeness. In a powerful dialogue with graphic arts, the paintings refer to a popular visual language used in posters and the media.
Felipe Esparza Pérez (Peru, 1985)
Cautivos, from the series Espacio Sagrado, 2015
Everything seems to be moving towards the Peruvian city of Ayabaca, the destination of pilgrims who walk for months in search of miracles. Water, wind, and mud are part of the strenuous trek to the feet of the Señor Cautivo [Captive Lord]. The footage gains color once the penance of the outward journey is over and the faithful prepare to return home. The video is part of the series Espacio Sagrado, which investigates the country’s different manifestations of spirituality.
Pawqartampu, from the series Espacio Sagrado, 2015
The video explores and links elements of the Virgin Carmen Cult, the main celebration of Paucartambo in Peru. Plants, domestic animals, colonial houses, and ritual masks recreate the diversified setting of this experience of the sacred, in which human and avian voices are joined in song. The work is part of the Espacio Sagrado series, which investigates different expressions of Peruvian spirituality.
Soga de Muerto, from the series Espacio Sagrado, 2014
Shamanic chants and evangelical cults integrate into daily life in the Amazon region. The forest is the thread that binds all of its beings to death and life, and ayahuasca is the vine used by humans to move between different planes. A poetic essay on the Amazonian cosmovision, the video is part of the Espacio Sagrado series.
Graziela Kunsch (Brazil, 1979)
Ensaio Ilú Obá De Min, 2015
The afro percussion group, exclusively composed of women, makes open performances that temporarily transform the face of public spaces in São Paulo, engaging the excluded population of the city. Made from a single plan, the video shows the face of this change, showing a dancing group of transgender women and men who live under a bridge: to the sound of the drums, their bodies create a place of celebration and dignity.
In 2015, a student uprising occupied more than 200 public state schools in São Paulo to protest against the decision of the São Paulo government to close several educational institutions. The video is made up of a sequence of 26 filmed photographs, each with eight seconds of duration, of occupations and protests that turned buildings neglected by the state government into living, powerful spaces. Similar to a school homework, the presentation (on slides and with no sound) hints at what we can learn from the high school uprising.
The images that make up the video were made by the artist in occupied schools in São Paulo in November and December 2015 alongside photographs downloaded from the internet, published without author credits. These images were on the Facebook pages of the self-called Struggle Schools or Occupations E. E. Ana Rosa, Dica (E. E. Emiliano Cavalcanti), E. E. Fernão Dias Paes, E. E. João Kopke, Mazé (E. E. Maria José), E. E. Rachid Jabur, E. E. Salvador Allende and/or on the page of collective O Mal Educado.
Karo Akpokiere (Nigéria, 1981)
Zwischen Lagos und Berlin, 2015
The work proposes a tour of the two cities in the title and the social, political, and personal experiences they offer. Making use of drawings, paintings, and texts—which refer to graphic design in a broad sense, from hand-drawn typography to everyday objects—it brings forth stories that blend real and fictional events.
Mabe Bethônico (Brazil, 1966)
Histórias minerais extraordinárias, 2017
Oct 6, at 8:30 p.m.
Nov 4, at 3:00 p.m
Drawing on three characters in Swiss history—the geographer Aubert de la Rüe, the ufologist Billy Meier, and Pierre Versins, founder of the science fiction museum Maison d’Ailleurs—the work overlays boundaries between geography, ufology, and fiction, and takes on the format of a lecture and debate event.
Manuela de Laborde (Mexico, 1989)
As Without so Within, 2016
Creating virtual spaces and mutant figures, the video invites viewers to adopt a contemplative gaze capable of identifying the subtlest changes. Using lighting variation, overlaid images, and editing resources, among other devices, it makes way for a shapeless world in constant transformation
Miguel Penha (Brazil, 1961)
Cipó azul, 2014
In the first painting, a red vine, wrapped around a tree, stands out from the cold background colors, cutting the landscape in half while blending in perfectly with the vegetation. The second portrays a forest rich in details that merge and individualities that traverse each other. Both are part of the Cipós series, stemming from the artist’s search for his indigenous origins and an immersion in the Brazilian Mid-Western region.
Monira Al Qadiri (Senegal, 1983)
A spiral-shaped, 3-D printed sculpture floats on a purple background. The work stems from the investigation of the impact of the discovery and exploitation of oil, in the first half of the 20th century, on the environmental and geopolitical landscape of the Arabian Gulf. Before the fossil fuel arrived to define the region’s future, its main product was pearls. Coincidentally, pearls and oil occupy opposite poles of the same color spectrum.
Oil rig drill bits, sculpted in plastic, emerge from a purple wall toward the audience, as if it were the extracted fuel. The work is part of an investigation on the changes brought about by the discovery and exploration of oil in the environmental and geopolitical landscape of the Arabian Gulf in the first half of the 20th century.
Pakui Hardware (Lithuania)
Lost Heritage, 2015
A garden-laboratory combines silicone, grass, wooden panels, and LED lamps. Exploring the relationships between materiality, technology, synthetic biology, and nature, the installation undermines the so-called ideal natural balance and investigates how technology transforms our physical reality.
Pedro Barateiro (Portugal, 1979)
The Current Situation, 2015
In the installation, two sounds come in through the window simultaneously: the felling of a palm tree infected by a disease and a protest against austerity measures. The palm tree is of a species imported from Portugal’s former African colonies; the austerity measures are demanded by the European Union from southern European countries, considered responsible for the economic crisis. The events relate to each other, linking the natural and the social.
Rodrigo Hernández (Mexico, 1983)
Illustrations by the Mexican artist Miguel Covarrubias in the book El Arte Indígena de México e Centroamérica, stylistic aspects of Italian futurism, and the color theory of the Japanese avant-garde painter Sanzo Wada are reference points that make up the installation. Creating paradoxes with Amerindian forms and the speed of European avant-garde, the work wavers between abstraction and formalism, homage and parody.
Tatewaki Nio (Japan, 1971)
Neo-andina #52, #59, #64, #97, #102, #208, from the series Neo-andina, 2016
A photographic series whose subject is a new phenomenon in Bolivian architecture: the cholets, sumptuous and colorful buildings spread throughout El Alto, on the outskirts of La Paz. Fashionable among the Aymara population that rose economically in the last decade, the houses celebrate the chola identity and have become a symbol of the political and cultural changes the Andean country is undergoing and, therefore, of a new ethnic identity.
Thiago Martins de Melo (Brazil, 1981)
bárbara balaclava, 2016
A union of two incarnations martyred by the greed of the powerful, bárbara balaclava roams the country with her jaguar and thirst for justice, crushing the usurpers of the land, the heirs of those who murdered her in past lives. Over four thousand paintings and drawings compose this animation, an anarchic and shamanic narrative of anticolonialist struggle.
Viktorija Rybakova (Lithuania, 1989)
Swivel Doors, 2014
That which is left behind projects itself into the future. Walking through shadows, spectators experience the inability of the senses to embrace the totality of the space. The work produces the experience of a non-place, while making room for creative imagination and intensifying the experience of time.
Ximena Garrido-Lecca (Peru, 1980)
The voice-over by Cristobal Alcibiades guides us through Huayllay, a stone forest near Cerro de Pasco in Peru. The 16th-century city is being swallowed up by the country’s largest mine. While he describes the geology and culture of his birthplace, we witness the devastating effects of mining. The kilometer-wide hole tragically links the affectionate voice and the desolating images.
The artist weaves a carpet with an ancient technique, using copper threads rather than straw. The product bears a strange relationship with tradition: it expresses domesticity and comfort, but is actually hard and cold. It evokes predatory mining, which opens craters in the future, and human capacity to know and respect the Earth. One of the earliest metals worked by mankind, copper serves here as a link between memory and the future.