Flavio-Shiró is a cult artist, a painter’s painter. His work defies categorization or association with any artistic group or movement. For more than six decades, his work has simply been modern.
Naeem Mohaiemen’s essays, films and installations are works about the unreliability of memory in many registers: individual, familial, collective and official. His practice is framed by his upbringing in Dhaka in the 1970s and 80s, a time of deep political turbulence in Bangladesh (the former East Pakistan) after a violent separation from Pakistan. These two decades saw the nation’s hopes, initially imbued with socialism and secularism, fade in a succession of military coups and dictatorships. Drawing on the film and video archive and its erasures, both as material and metaphor to revisit the impact of ruptures in history on individuals, Mohaiemen interweaves his family histories with the unofficial record of former Left utopias, in the post-war period framed by decolonization and world socialism.
Throughout Mohaiemen’s work, displacement can be seen in its literal form in the treatment of global histories of post-colonial socialism, with references to migration, exile, geopolitics and buried family secrets across several countries and epochs. The works focus on the margins of major historical events, and shift perspectives towards narrating non-Western histories. ON a metaphorical level, it can be seen in Mohaiemen’s attempt to create new meanings from fragmented testimonies, slips in memory and gaps in the archive, opening the way to fictionalization. His ongoing obsession with the previous century’s struggle between capitalism and socialism, between colony and metropole, between West and non-West, always comes back to this question: what would have been our other possible futures, if events had unfolded differently?
–Elsa Coustou, Assistant Curator, Contemporary British Art, Tate
Flavio-Shiró is a cult artist, a painter’s painter. His work defies categorization or association with any artistic group or movement. For more than six decades, his work has simply been modern.
Dia Center was founded in New York City in 1974 by Philippa de Menil, Heiner Friedrich, and Helen Winkler to help artists achieve visionary projects that might not otherwise be realized because of scale or scope. (more…)
Sons of Cain, written and directed by Keti Stamo, is set in a small village in northern Albania. In this place, time is suspended and the severe rules of an old code, Kanun, still dictate the life and death of the inhabitants.. (more…)
Marc Lagrange (1957-2015) was born in Kinshasa, Congo. His career path led him from engineering to photography, and his creativity from fashion to art. (more…)
Born in 1958 in Oran, Algeria Lise Sarfati lives and works between Paris and Los Angeles and is represented by Yossi Milo Gallery, NY, Rose Gallery, LA, La Galerie Particulière, Paris.
Ingel Vaikla is a visual artist and filmmaker from Estonia. She studied photography in Estonian Academy of Fine Arts (BA) and film in Royal Academy of Fine Arts in Gent (MA). In her work she questions the relationship between architecture and its users, and the representation of architecture in camera based mediums. (more…)
Using subtle methods and an economy of materials, Fred Sandback’s work creates striking perceptual effects in response to the surrounding architecture. (more…)
Angela Davis Johnson creates paintings, public art installations, and ritual performances to examine the technologies of black people, in particular black women/femme. (more…)
Dario Maglionico was born in Naples in 1986. After graduating in Biomedical Engineering at the Polytechnic University of Milan, from 2014 he lived and worked in Milan, devoting himself exclusively to painting. (more…)