ROOM 12

An exploration of the arrest procedures of and violence against undocumented migrants in Spain. Photographs depict two migrants implementing the techniques of the Police Defence Manual to subdue one another. Alongside these images are archive files taken from the manual. This project examines what it means to reduce and subdue.

Stadtluft compares Vienna’s 2013 pigeon control programme with universal methods to oppress social groups, connecting the creation of human and nonhuman ontological differences in relation to the stigmatisation of communities through animalisation. Identifying the frameworks of segregation and hate speech, this project questions the role of bureaucracy and security policies as forms of social control.

The Song of a Young Nutter Hung Ching Yan presents weird and ridiculous childhood memories as visual metaphors in relation to the complex feelings of being an outsider in her own home country. This project uses the artist’s autobiographical humour to explore how a culture they consider controlling and conservative can shape character and values despite her nonconformity.

A series of patchworks made during lockdown featuring images from the photographer’s archive from the last twenty years. Concerned with the effects of war on women's lives the making has been a slow process, in which to organise memories and contemplate the experiences witnessed from each country which range from war, rape and violence. The works are sewn together to create a series of patchworks honouring women and their lives, during and after conflict from all over the world.

Stadtluft compares Vienna’s 2013 pigeon control programme with universal methods to oppress social groups, connecting the creation of human and nonhuman ontological differences in relation to the stigmatisation of communities through animalisation. Identifying the frameworks of segregation and hate speech, this project questions the role of bureaucracy and security policies as forms of social control.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Linea: The Border Project was created to go beyond the conventions of an often melodramatic news cycle and the relentless political posturing that has defined public understanding of the Mexico-USA border. We are interested in the subtlety, complexity, humanity and beauty of the region and its people. We made this work and this show to reflect these ideas, and will bring it to public spaces across both countries and the political divide inside the USA. In an era of of polarizing rhetoric and relentless attempts at dehumanizing the other, we hope our work can serve as a counterpoint and an antidote. In May 2019 Magnum photographers spent two weeks on either side of the US-Mexico border in San Diego, Tijuana, Juarez and El Paso. Many have returned to the region since and continue to document an ever-evolving story. ALESSANDRA SANGUINETTI JIM GOLDBERG & CRISTINA DE MIDDEL CAROLYN DRAKE & ANDRES GONZALEZ ANTOINE D’AGATA RAFAL MILACH MARK POWER THOMAS DWORZAK LUA RIBEIRA JEROME SESSINI PAOLO PELLEGRIN PETER VAN AGTMAEL LARRY TOWELL MATT BLACK OLIVIA ARTHUR YAEL MARTINEZ

An exploration of spatial and cultural displacement using the long-haul airplane flight as a metaphor. Scale shifts, juxtaposition and aggressive colours translate the montage strategies of surrealism and postmodernism into the digital present. Zhao Qian maps the flatness of screen culture onto the dimensionality of an exhibition space, exploring contemporary image culture as our natural environment.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

Mountain of Salt (2020) is an ongoing series comprised found images, appropriated text and digital shape collages, initially conceptualised as a human response to the unfolding of covid-19. Since the pandemic gripped the world, I like many others became acutely aware of the landscape in which we are living in, where everything has felt amplified; clinging to the news for updates, statistics and curves and in our own ways analysing the myriad forms of information being shared with us. It highlights the way words and speech have a physical presence, a bearing upon us and carry weight. This text-based series of collages focuses on the provocative language used since March and evolved from the collecting words and sentences derived from politicians, journalists and individuals all sharing their commentary, updates or thoughts. The distinct rhetoric of collective responsibility, togetherness and unity constantly being consumed by us is further amplified by the shapes that appear in the works and reflects a semantic response to this. They aren’t only there to direct your gaze but reflect on the etymological meaning of what the shapes represent. The works have continued to evolve and now encompass issues and moments that have affected us well beyond the virus – conversations around oppression, racism and witnessing trauma but also speak to some of the more light-hearted moments in these times where we take solace. This curious collection of phrases speaks to the dissemination of language and its affect upon us. Mountain of Salt now encompasses more than 349 works.

‘Home Occupations’ is about working from home. Featuring a coming together of self-portraiture and sculpture, this is a performative project played out in real time (and alongside my real job). In fact, if you are looking at this during the festival, I am working on it right now; logged on, wearing slippers, drinking coffee. It will evolve throughout the festival as my relationship with my environment unfolds. Photographs, video and text are being added to the exhibition at regular intervals, functioning like updates on my progress or lack thereof. Working from home changes our relationship with the objects we own and the domestic spaces we inhabit. It results in inhabiting two personas; worker and homeowner. There is a contrast between the intangibility of virtual meetings and being surrounded by tangible household objects. They are present whilst I work, they distract me from work. Often, they serve as a reminder of something that needs doing. That shelf needs fixing. The lawn needs mowing. Other times, they are a welcome distraction from the work contained on the screen. The boundaries of the work/life balance become eroded when the dog can join my meeting. The term Home Occupations has a dual meaning. In the US, zoning regulations have defined what is an acceptable ‘home occupation’, or, what can be lawfully carried out in residential dwellings, such as artist, dressmaker, author, clergyman. For me however, the title speaks of becoming occupied with the home, its contents and the permeable divide between work and life. I am on a Zoom call. My house plant is encroaching. I’m making a spreadsheet. I need to finish that tiling. I feed the dog whilst resolving a tricky work problem in my head. I climb the walls. Exercise at my desk. Workspace training for ergonomics at home. Prop my back with a cushion.

A Field Guide is based on photographer Zhao Qian’s own experiences and imagination, providing a guide or map to the artist’s thoughts and ideas as he travels between two cities – San Francisco and Shanghai. But this guide is not intended to be an authoritative understanding of Zhao’s journey. There are no directions, names or definitions. The environments created are indicative of a cultural displacement Zhao experienced as he switched between the two countries. The specificity of national identity is elided in non-sites such as airports, where all design decisions—from wayfinding signage to furniture to advertisements—are driven by maximum legibility and functionality. Within those levelling conditions, Zhao’s observational sensibility has the vibrancy and idiosyncrasy of a lucid dream. Scale shifts, odd juxtapositions, aggressive colours, and video sequences all contribute to an immersive effect that translates the montage strategies of surrealism and postmodernism into our fully digital present. Confronting the flattening tendencies of screen-culture—in which complex real-world objects, places, and emotions are dispersed into arrays of pixels—Zhao responds by mapping this flatness onto the dimensionality of a gallery or exhibition space. His open-ended Field Guide has infinite configurations. In that sense, it is not definitive in the traditional manner of the “field guide” format, which is intended to help the reader to identify flora, fauna, or other things in their natural environment. Instead, Zhao Qian’s work makes us wonder if contemporary image culture is now in fact our natural environment. In that new reality, the artist’s roving attention is an invitation to us all to create our own field guides to our imaginations and creativity.