Alberto Giacometti - The Chariot, 1950
Jenny Holzer, from Lustmord, 1993-1994
In her series ‘Lustmord’ — meaning rape murder in German — Holzer created a number of works addressing war crimes in the former Yugoslavia in the 1990s, in particular the violent physical abuse, rape and murder of women that occurred. In this series Holzer displays photographs of text on human skin, some of which includes women’s blood mixed with ink. (via)
Francis Alÿs — When Faith Moves Mountains, 2002
Starting from the idea of providing an “epic response, at once futile and heroic, absurd and urgent” to the bad Peruvian economic situation, Francis Alÿs asked 500 volunteers to dig and move the sand of an almost 200 meters wide dune in Ventanilla, an area near Lima, where nearly seventy thousand people are living in huts. The purpose of the action is to move the dune by approximately ten centimetres from its original position, forming a long line at its foot and using only shovels.
As Alÿs often puts it, his intention was to create a “social allegory”. The coral act of these people is a metaphor for the potentialities of a participative action taking on even mythical and religious features in its confronting the monumentality of nature, altered by human intervention. The greatness and the spectacularity of the project testifies how people when united can achieve things that would be unthinkable and impossible for the single individual, letting the power of collectivity emerge. (via)
Casilda Sanchez — As Inside as the Eye can See, video, 2009
The video installation presents two eyes trying to see each other as close as they can. The avidity of “seeing” the “other”, of entering in his/her space and trying to understand, or even share, the other person’s intimacy through the gaze turns out to be an effort in vain because without distance we cannot see. We find ourselves in a paradox: so close but unable to see more than a blurred image. The gaze becomes now more of an haptic sense, perceiving the other not through the sight but through the rubbing between the eyelashes. The resulting image embodies a physical eye that beats, touches and relates intimately.
Tauba Auerbach — Alphabetized Bible, 2006
Andy Goldsworthy, 1986
Alex Prager — Compulsion, 2012
Amir Zaki — Time Moves Still, 2013
Miyako Ishiuchi — Hiroshima, 2008, c-prints of the belongings left behind by the victims of the 1945 bombing of Hiroshima. From Ishiuchi:
These are objects irradiated by the great fireball that appeared suddenly one summer morning, and personal effects left behind by those who perished because of it. I catch my breath at their vivid hues and textures, surfacing from the long shadows cast by their extreme circumstance. They seem much too ordinary, the very stuff of daily life, to belong to an Atomic archive […] I found Hiroshima in the gentle, everyday textures surviving in the silhouette of a one-piece dress, worn, perhaps clandestinely, by an unknown woman, and in the deep folds of a gathered skirt, in a fabric woven of silken threads.
Hans Bellmer — Untitled (Hands Triptych), 1933-1934
Derek Paul Boyle — Mirror Step, 2013