Brad Tinmouth




Brad Tinmouth at Cooper Cole, Toronto.




Tradition prescribes that an image of Buddha cannot be bought, only gifted.

Jos de Gruyter & Harald Thys


From the series ‘Objects as Friends’ (2011) by Jos de Gruyter & Harald Thys.

Judith Hopf


‘A line may lie’ (2013) by Judith Hopf.

Sherrie Levine

Sherrie Levine African Masks After Walker Evans- 1-24, 2014 Image 16

Sherrie Levine African Masks After Walker Evans- 1-24, 2014 Image 1

Sherrie Levine African Masks After Walker Evans- 1-24, 2014 Image 9

Sherrie Levine, ‘African Masks after Walker Evans’ (2015)

In 1979, Sherrie Levine received widespread acclaim for her series ‘After Walker Evans’, in which she re-photographed 24 of Walker Evans’s photographs out of an exhibition catalogue, depicting the impoverished rural population in Alabama at the end of the 1920s. 35 years later, in a further series after Walker Evans, Levine addresses similar issues with new layers of relevance.

For the series ‘African Masks after Walker Evans’, the artist chose her motifs from an extensive collection of over 400 photographs of African artworks that Walker Evans was commissioned to produce in 1935 by the Museum of Modern Art in New York. Evans photographed numerous objects from “African Negro Art,” a major exhibition shown in 1935 at the Museum of Modern Art and other American museums. These photographs were not used for the exhibition catalogue, but were compiled into a portfolio of more than 400 original prints, provided to museums and specialized libraries for educational purposes. This comprehensive project made a significant contribution to the reception of African art in the western aesthetic canon.

Selecting only masks for her series, Sherrie Levine hones in on the question of the identity of the artwork creator. Walker Evans’s photographs already indicate the aesthetic primacy of the works he depicted: through the act of being photographed, they are transformed in status from foreign ritual artifacts into modern sculptures.

Ana Navas




Ana Navas, ‘Yet far more often than these text based pieces, one would play pure melodies on the mouth organ (version II)’ (2013)

Based on descriptions of audio guides from ethnographic museums, 10 objects are created out of paper napkins. The originals remain unseen; the reconstruction relies only on the information heard.

Roel Roscam Abbing





‘Pretty Fly for a Wifi’ (2014) by Roel Roscam Abbing.

Pretty Fly For A Wifi is an overview of different self-made WIFI antennas. It is a combination of pots and pans, dishes and cans through which people from around the world give shape to their collective dream of making an alternative internet.

The Consortium for Slower Internet

consortium slower internet - nodes - discarded consumer wifi routers

The Consortium for Slower Internet, ‘Nodes’

Discarded consumer wifi routers.

The principles for Slower Internet:

– Duration
– Defamiliarization
– Autonomy
– Divergence

Bani Abidi

intercom7a intercom9a intercom2a Intercom1a

‘Intercommunication Devices’ (2008) by Bani Abidi.

Intercommunication devices on 13th Street, Defence Housing Authority, Karachi, Pakistan.


Lode Geens

Lode Geens, Hek, 2009

Lode Geens, ‘Hek’ (Fence) (2009)