Shilpa Gupta’s artistic quest has been directed towards the manifestation of the audible but immaterial surplus of experience, a surplus of affect and reason that eludes easy consumption. This is especially true of her series on the singing microphones.
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From within the image, there emerges an excess, which disturbs visual perception and folds the photograph’s spatial continuum into a double figuration, an excess mobilized by The Otolith Group in Preparations I-V (2006).
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Few artists have so consistently explored the themes of identity and belonging like Sanna Sevika Hansson. Born in India, raised in Sweden and based in Istanbul, her work is like a constant roadshow, a wild traveling circus exploring the complexity of ethnic, social, and cultural encounters in a globalised world.
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Seher Shah works with an occult visual physics, with force fields. Indeed, some of the artist’s best work is abstract and visionary, somewhere between Zaha Hadid’s post-Constructivist geometrical fantasia and the formal and mysterious line-making mysticism of Nasreen Mohamedi.
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From 2005 to 2007, the Berlin-based artist Lars Teichmann created a series of individual and group portraits that excel through a special use of black colour. While the face, the hands, and some very small details of the clothes (like the collar or the sleeves) appear as white areas, the rest of the figure is completely swathed in black.
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There is a key moment in The Rebel where the misunderstood artist is stuck on a millionaire’s yacht in Monte Carlo where he has been bullied into making a sculpture of this important art collector’s trophy wife.
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It was only a matter of time before a Chinese artist modelled a catalogue on Mao’s Little Red Book. To her credit, the artist O Zhang’s version, The World is Yours (But Also Ours), feels less like a gimmick than a quotation, an allusion that chimes resonantly with her subject matter.
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The artist Torsten Warmuth lives in Berlin, but he has been making photographic forays into other metropolises such as New York, Paris, Buenos Aires or Cairo since the mid-nineties. Warmuth’s images seek to capture the fleeting qualities of life; they are energised by rippling mists, a deliberate lack of clarity that conceals the emotions and impetus behind entire societies.
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A girl standing in a mustard field looks straight into the camera; she is wearing a summer dress over which is put a suicide-bomber’s vest. As we pass by the photograph, the girl slowly dissolves and we are left watching a collage of black and white and bright yellow flowers surrounded by a garden wall.
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Since the mid-1980s, Gregg LeFevre has been documenting the dialogue in cities around the world and in particular, in New York. His photographs illustrate the accidental, premeditated, random, and fleeting ways that a city’s inhabitants – from protestors to pigeons – often respond to commercial messaging.
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