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  • Last oil barrel, date postponed
Sustainable wood, paper, ink and financial markets. Unit dimensions 3.5 x  Ø 2.5 cm. Unnumbered, unlimited edition 
For price reference click to see <a href=Oil Future index" />
    Last oil barrel, date postponed
    Sustainable wood, paper, ink and financial markets. Unit dimensions 3.5 x Ø 2.5 cm. Unnumbered, unlimited edition
    For price reference click to see Oil Future index
  • Alessandro Balteo-Yazbeck
Installation view at Sharjah Biennial 14: <i>‘Leaving the Echo Chamber’</i>
Commissioned by Sharjah Art Foundation. 
Courtesy the Artist and Green Art Gallery, Dubai
    Alessandro Balteo-Yazbeck
    Installation view at Sharjah Biennial 14: ‘Leaving the Echo Chamber’
    Commissioned by Sharjah Art Foundation.
    Courtesy the Artist and Green Art Gallery, Dubai
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[1]
<i>Opposable thumb.</i>
From the series <i>All the Lands from Sunrise to Sunset,</i> 2018.
Centenary olive wood, rabbit skin collagen-glue, insect-based shellac and cellphone.
Size(HxWxD): Carving:48.5 x 3 3x 2 6cm / 4.13kilos 
Box: 42 x 71 x 4 2cm / 8.5kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [1]
    Opposable thumb.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, rabbit skin collagen-glue, insect-based shellac and cellphone.
    Size(HxWxD): Carving:48.5 x 3 3x 2 6cm / 4.13kilos
    Box: 42 x 71 x 4 2cm / 8.5kilos
  • Alessandro Balteo-Yazbeck
Installation view at Sharjah Biennial 14: <i>‘Leaving the Echo Chamber’</i>
Commissioned by Sharjah Art Foundation. 
Courtesy the Artist and Green Art Gallery, Dubai
    Alessandro Balteo-Yazbeck
    Installation view at Sharjah Biennial 14: ‘Leaving the Echo Chamber’
    Commissioned by Sharjah Art Foundation.
    Courtesy the Artist and Green Art Gallery, Dubai
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[3]
<i>Snap.</i>
From the series <i>All the Lands from Sunrise to Sunset</i>, 2018.
Centenary olive wood, rabbit skin collagen-glue, insect-based shellac and IBM Selectric typewriter head.
Size(HxWxD):Carving: 45.5 x 35.5 x 23 cm/ 3.6 kilos 
Box :42 x 71 x 4 2cm / 8 kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [3]
    Snap.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, rabbit skin collagen-glue, insect-based shellac and IBM Selectric typewriter head.
    Size(HxWxD):Carving: 45.5 x 35.5 x 23 cm/ 3.6 kilos
    Box :42 x 71 x 4 2cm / 8 kilos
  • Alessandro Balteo-Yazbeck
Installation view at Sharjah Biennial 14: <i>‘Leaving the Echo Chamber’</i>
Commissioned by Sharjah Art Foundation. 
Courtesy the Artist and Green Art Gallery, Dubai
    Alessandro Balteo-Yazbeck
    Installation view at Sharjah Biennial 14: ‘Leaving the Echo Chamber’
    Commissioned by Sharjah Art Foundation.
    Courtesy the Artist and Green Art Gallery, Dubai
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[7]
<i>GPS, 1973.</i>
From the series <i>All the Lands from Sunrise to Sunset</i>, 2018.
Centenary olive wood, oil finishing and telescopic antenna.
Size (H x W x D): Carving: 30 x 24.5 x 13.5 cm / 1.65 kilos 
Box: 30 x 41 x 34 cm/ 3.6 kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [7]
    GPS, 1973.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, oil finishing and telescopic antenna.
    Size (H x W x D): Carving: 30 x 24.5 x 13.5 cm / 1.65 kilos
    Box: 30 x 41 x 34 cm/ 3.6 kilos
  • Alessandro Balteo-Yazbeck
Installation view at Sharjah Biennial 14: <i>‘Leaving the Echo Chamber’</i>
Commissioned by Sharjah Art Foundation. 
Courtesy the Artist and Green Art Gallery, Dubai
    Alessandro Balteo-Yazbeck
    Installation view at Sharjah Biennial 14: ‘Leaving the Echo Chamber’
    Commissioned by Sharjah Art Foundation.
    Courtesy the Artist and Green Art Gallery, Dubai
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[10]
<i>VoIP.</i>
From the series <i>All the Lands from Sunrise to Sunset</i>, 2018.
Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, felt and Voice-over Internet Protocol hardware.
Size(HxWxD):Carving:50 x 37.5 x 28 cm/ 7.8 kilos 
Box: 63 x 43 x 43 cm/ 11 kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [10]
    VoIP.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, felt and Voice-over Internet Protocol hardware.
    Size(HxWxD):Carving:50 x 37.5 x 28 cm/ 7.8 kilos
    Box: 63 x 43 x 43 cm/ 11 kilos
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[13]
<i>Man-made.</i>
From the series <i>All the Lands from Sunrise to Sunset</i>, 2018.
Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, velvet and printed circuit board with various components.
Size(HxWxD):Carving: 12 x 44 x 32.5 cm / 2.9kilos 
Box: 26.5 x 52 x 52 cm / 6.3kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [13]
    Man-made.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, velvet and printed circuit board with various components.
    Size(HxWxD):Carving: 12 x 44 x 32.5 cm / 2.9kilos
    Box: 26.5 x 52 x 52 cm / 6.3kilos
  • Alessandro Balteo-Yazbeck, (b. Caracas 1972)
in collaboration with Attilio Napolitano, (b. Modica 1936)
[11]
<i>Cheap.</i>
From the series <i>All the Lands from Sunrise to Sunset</i>, 2018.
Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, velvet, lead weights and integrated circuit data storage microchip with near field communication technology.
Size(HxWxD): Carving: 22 x 40 x 18 cm / 2.41kilos 
Box: 25 x 71 x 41.5 cm / 6.5kilos
    Alessandro Balteo-Yazbeck, (b. Caracas 1972)
    in collaboration with Attilio Napolitano, (b. Modica 1936)
    [11]
    Cheap.
    From the series All the Lands from Sunrise to Sunset, 2018.
    Centenary olive wood, rabbit skin collagen-glue, insect-based shellac, velvet, lead weights and integrated circuit data storage microchip with near field communication technology.
    Size(HxWxD): Carving: 22 x 40 x 18 cm / 2.41kilos
    Box: 25 x 71 x 41.5 cm / 6.5kilos
  • <i>Standard</i>, 2018 
From the series Modern Entanglements
Archival inkjet print and narrative label
157 x 126 cm. approx. (framed)
Edition of 5 + AP (AP)
Photo: Eugenia Sucre
    Standard, 2018
    From the series Modern Entanglements
    Archival inkjet print and narrative label
    157 x 126 cm. approx. (framed)
    Edition of 5 + AP (AP)
    Photo: Eugenia Sucre
  • <I>Instrumentalized</I>, 2018
Installation View at Green Art Gallery, Dubai
Photo: Seeing Things – Alex Wolfe
    Instrumentalized, 2018
    Installation View at Green Art Gallery, Dubai
    Photo: Seeing Things – Alex Wolfe
  • <I>Instrumentalized</I>, 2018
Installation View at Green Art Gallery, Dubai
Photo: Seeing Things – Alex Wolfe
    Instrumentalized, 2018
    Installation View at Green Art Gallery, Dubai
    Photo: Seeing Things – Alex Wolfe
  • <I>Instrumentalized #30</I>, 2017
Worn-stained pajama pants, semi-stretched around plinth, with hanging cardstock tag 
Dimension: 98 x 31 x 28 cm approx.

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #30, 2017
    Worn-stained pajama pants, semi-stretched around plinth, with hanging cardstock tag
    Dimension: 98 x 31 x 28 cm approx.

    Photo: Seeing Things - Alex Wolfe
  • <I>Instrumentalized #26</I>, 2017
Worn-stained washed jeans, semi-stretched around plinth, with hanging cardstock tag 
Dimension: 103 x 39 x 30 cm approx.

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #26, 2017
    Worn-stained washed jeans, semi-stretched around plinth, with hanging cardstock tag
    Dimension: 103 x 39 x 30 cm approx.

    Photo: Seeing Things - Alex Wolfe
  • <I>Instrumentalized #2</I>, 2017
Faded, backside, cotton chemise semi-stretched flat on canvas, with hanging cardstock tag 
Dimension: 80 x 58 x 3.5 cm (Artwork), 151 x 58 x 3.5 cm (Display)

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #2, 2017
    Faded, backside, cotton chemise semi-stretched flat on canvas, with hanging cardstock tag
    Dimension: 80 x 58 x 3.5 cm (Artwork), 151 x 58 x 3.5 cm (Display)

    Photo: Seeing Things - Alex Wolfe
  • <I>Instrumentalized #18</I>, 2017
Worn, back pleated side, striped cotton shirt semi-stretched on canvas, with hanging cardstock tag 
Dimensions: 79 x 65 x 3.5 cm (Artwork), 156 x 65 x 3.5 (Display)

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #18, 2017
    Worn, back pleated side, striped cotton shirt semi-stretched on canvas, with hanging cardstock tag
    Dimensions: 79 x 65 x 3.5 cm (Artwork), 156 x 65 x 3.5 (Display)

    Photo: Seeing Things - Alex Wolfe
  • <I>Instrumentalized #20</I>, 2017
Worn, backside, striped cotton-Lycra T-shirt semi-stretched flat on canvas, with hanging cardstock tag 
Dimension: 50 x 30 x 3.5 cm (Artwork), 79 x 30 x 3.5 cm (Display)

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #20, 2017
    Worn, backside, striped cotton-Lycra T-shirt semi-stretched flat on canvas, with hanging cardstock tag
    Dimension: 50 x 30 x 3.5 cm (Artwork), 79 x 30 x 3.5 cm (Display)

    Photo: Seeing Things - Alex Wolfe
  • <I>Instrumentalized #24, 2017</I>
Pattern imprinted translucent polyester shirt, semi-stretched flat on canvas, with hanging cardstock tag 
Dimension: 76 x 35 x 3.5 cm (Artwork), 151 x 35 x 3.5 cm (Display)

Photo: Seeing Things - Alex Wolfe
    Instrumentalized #24, 2017
    Pattern imprinted translucent polyester shirt, semi-stretched flat on canvas, with hanging cardstock tag
    Dimension: 76 x 35 x 3.5 cm (Artwork), 151 x 35 x 3.5 cm (Display)

    Photo: Seeing Things - Alex Wolfe
  • Flashbacks. Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper, wooden billboard and anaglyph (red & blue) 3D glasses. 252 x 356 cm. Edition of 6 + AP
    Flashbacks. Israeli Nuclear Arsenal, 2004-2013
    Installation. Inkjet print on poster paper, wooden billboard and anaglyph (red & blue) 3D glasses. 252 x 356 cm. Edition of 6 + AP
  • Flashbacks. Israeli Nuclear Arsenal, 2004-2013 (detail)
Installation. Inkjet print on poster paper, wooden billboard and anaglyph (red & blue) 3D glasses. 252 x 356 cm. Edition of 6 + AP
    Flashbacks. Israeli Nuclear Arsenal, 2004-2013 (detail)
    Installation. Inkjet print on poster paper, wooden billboard and anaglyph (red & blue) 3D glasses. 252 x 356 cm. Edition of 6 + AP
  • Delivery Methods Since 1967. Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper, wooden billboard, neon sign. 252 x 356 cm. Edition of 6 + AP
    Delivery Methods Since 1967. Israeli Nuclear Arsenal, 2004-2013
    Installation. Inkjet print on poster paper, wooden billboard, neon sign. 252 x 356 cm. Edition of 6 + AP
  • Delivery Methods Since 1967. Israeli Nuclear Arsenal, 2004-2013 (detail)
Installation. Inkjet print on poster paper, wooden billboard, neon sign. 252 x 356 cm. Edition of 6 + AP
    Delivery Methods Since 1967. Israeli Nuclear Arsenal, 2004-2013 (detail)
    Installation. Inkjet print on poster paper, wooden billboard, neon sign. 252 x 356 cm. Edition of 6 + AP
  • Waldorf Astoria, 1961. Israeli Nuclear Arsenal, 2004-2013
Installation. Inkjet print on poster paper, wooden billboard. 252 x 356 cm. Edition of 6 + AP
    Waldorf Astoria, 1961. Israeli Nuclear Arsenal, 2004-2013
    Installation. Inkjet print on poster paper, wooden billboard. 252 x 356 cm. Edition of 6 + AP
  • Waldorf Astoria, 1961. Israeli Nuclear Arsenal, 2004-2013 (detail)
Installation. Inkjet print on poster paper, wooden billboard. 252 x 356 cm. Edition of 6 + AP
    Waldorf Astoria, 1961. Israeli Nuclear Arsenal, 2004-2013 (detail)
    Installation. Inkjet print on poster paper, wooden billboard. 252 x 356 cm. Edition of 6 + AP
  • Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Installation view)
Single channel HD video installation inсl. screenplay booklets, sofa and table, 24:49 min, B & W, sound
Dimensions variable, Ed. 5 + 2AP. Photo: silversalt, courtesy of Artspace, Sydney
    Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Installation view)
    Single channel HD video installation inсl. screenplay booklets, sofa and table, 24:49 min, B & W, sound
    Dimensions variable, Ed. 5 + 2AP. Photo: silversalt, courtesy of Artspace, Sydney
  • Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Still)
Single channel HD video installation incl. screenplay booklets, sofa and table.  24:49 min, B & W, sound
Dimensions variable, Ed. 5 + 2AP
    Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Still)
    Single channel HD video installation incl. screenplay booklets, sofa and table. 24:49 min, B & W, sound
    Dimensions variable, Ed. 5 + 2AP
  • Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Still)
Single channel HD video installation incl. screenplay booklets, sofa and table.  24:49 min, B & W, sound
Dimensions variable, Ed. 5 + 2AP
    Chronoscope, 1951, 11pm, 2009-2011. In collaboration with Media Farzin. (Still)
    Single channel HD video installation incl. screenplay booklets, sofa and table. 24:49 min, B & W, sound
    Dimensions variable, Ed. 5 + 2AP
  • Chronoscope, 1951, 11pm [Stelae], 2009-2011. In collaboration with Media Farzin. (Installation view)
Set of 12 C-prints, Diasec mounting with aluminum frames and wall label with legend.
Installation dimensions 91 x 320 cm.  Ed. 5 + 2AP
    Chronoscope, 1951, 11pm [Stelae], 2009-2011. In collaboration with Media Farzin. (Installation view)
    Set of 12 C-prints, Diasec mounting with aluminum frames and wall label with legend.
    Installation dimensions 91 x 320 cm. Ed. 5 + 2AP
  • Eames-Derivative (small version), 2006–2013. From the series Cultural Diplomacy: An Art We Neglect. In collaboration with Media Farzin.
1242 custom-made slotted cards, silk thread with metal fixtures, 5 framed vintage magazine ads, three narrative wall labels, vinyl wall lettering, glass and wood platform.
Installation dimensions variable: Platform: 594 cm long, with the house of cards on top 150 cm high approx. Framed ads: each 54 x 43 cm approx. Vinyl wall lettering minimum size: 75 x 520 cm. Edition of 6
    Eames-Derivative (small version), 2006–2013. From the series Cultural Diplomacy: An Art We Neglect. In collaboration with Media Farzin.
    1242 custom-made slotted cards, silk thread with metal fixtures, 5 framed vintage magazine ads, three narrative wall labels, vinyl wall lettering, glass and wood platform.
    Installation dimensions variable: Platform: 594 cm long, with the house of cards on top 150 cm high approx. Framed ads: each 54 x 43 cm approx. Vinyl wall lettering minimum size: 75 x 520 cm. Edition of 6
  • Eames-Derivative (small version), 2006–2013, (detail). From the series Cultural Diplomacy: An Art We Neglect. In collaboration with Media Farzin.
1242 custom-made slotted cards, silk thread with metal fixtures, 5 framed vintage magazine ads, three narrative wall labels, vinyl wall lettering, glass and wood platform.
Installation dimensions variable: Platform: 594 cm long, with the house of cards on top 150 cm high approx. Framed ads: each 54 x 43 cm approx. Vinyl wall lettering minimum size: 75 x 520 cm. Edition of 6
    Eames-Derivative (small version), 2006–2013, (detail). From the series Cultural Diplomacy: An Art We Neglect. In collaboration with Media Farzin.
    1242 custom-made slotted cards, silk thread with metal fixtures, 5 framed vintage magazine ads, three narrative wall labels, vinyl wall lettering, glass and wood platform.
    Installation dimensions variable: Platform: 594 cm long, with the house of cards on top 150 cm high approx. Framed ads: each 54 x 43 cm approx. Vinyl wall lettering minimum size: 75 x 520 cm. Edition of 6
  • Didactic Panel and Model of Alexander Calder's Vertical Constellation with Bomb, 1943. (Installation view). From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text and vinyl lettering. Dimensions variable. Ed. 5 + AP
Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
    Didactic Panel and Model of Alexander Calder's Vertical Constellation with Bomb, 1943. (Installation view). From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
    Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text and vinyl lettering. Dimensions variable. Ed. 5 + AP
    Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
  • Didactic Panel and Model of Alexander Calder's Vertical Constellation with Bomb, 1943. (Panel detail)
From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text and vinyl lettering. Dimensions variable. Ed. 5 + AP
    Didactic Panel and Model of Alexander Calder's Vertical Constellation with Bomb, 1943. (Panel detail)
    From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
    Face-mounted C-print, plastic model of original Calder sculpture, wall label with narrative text and vinyl lettering. Dimensions variable. Ed. 5 + AP
  • R.S.V.P, 1939. From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
Framed C-print; framed Time magazine cover, (May 22, 1939); vinyl lettering on wall and wall label with narrative text. Installation size 90 x 120 cm. Ed. 5 + AP
Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
    R.S.V.P, 1939. From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin.
    Framed C-print; framed Time magazine cover, (May 22, 1939); vinyl lettering on wall and wall label with narrative text. Installation size 90 x 120 cm. Ed. 5 + AP
    Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
  • Detail of Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art, 2008 (Installation view).
From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin. Photo by Ehsan Behmanesh.
Framed C-print, vinyl lettering, wall label with narrative text. Framed print 105 x 130 cm. Installation dimensions 177 x 160.5 cm. Ed. 5 + AP
Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez
    Detail of Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art, 2008 (Installation view).
    From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin. Photo by Ehsan Behmanesh.
    Framed C-print, vinyl lettering, wall label with narrative text. Framed print 105 x 130 cm. Installation dimensions 177 x 160.5 cm. Ed. 5 + AP
    Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez
  • Detail of Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art, 2008 (detail).
From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin. Photo by Ehsan Behmanesh.
Framed C-print, vinyl lettering, wall label with narrative text. Framed print 105 x 130 cm. Installation dimensions 177 x 160.5 cm. Ed. 5 + AP
    Detail of Alexander Calder’s performing mobile Orange Fish (1946) at the Tehran Museum of Contemporary Art, 2008 (detail).
    From the series Cultural Diplomacy: An Art We Neglect, 2007-2009. In collaboration with Media Farzin. Photo by Ehsan Behmanesh.
    Framed C-print, vinyl lettering, wall label with narrative text. Framed print 105 x 130 cm. Installation dimensions 177 x 160.5 cm. Ed. 5 + AP
  • Architect Carlos Raúl Villanueva in Collaboration with Alexander Calder, Aula Magna auditorium, Ciudad Universitaria de Caracas, 1954. (Installation view). 
In collaboration with Paolo Gasparini and Media Farzin. From the series Modern Entanglements, U.S. Interventions, 2006-2009
C-print digital reproductions from a faded 1954 Kodachrome attributed to Paolo Gasparini, wall label with narrative text. Size framed, each, 184 x 184 cm, Ed. 5 + AP
Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
    Architect Carlos Raúl Villanueva in Collaboration with Alexander Calder, Aula Magna auditorium, Ciudad Universitaria de Caracas, 1954. (Installation view).
    In collaboration with Paolo Gasparini and Media Farzin. From the series Modern Entanglements, U.S. Interventions, 2006-2009
    C-print digital reproductions from a faded 1954 Kodachrome attributed to Paolo Gasparini, wall label with narrative text. Size framed, each, 184 x 184 cm, Ed. 5 + AP
    Courtesy Henrique Faria Fine Art, NY. Photo Arturo Sánchez.
  • Model of Alexander Calder’s Cône d’ébène, 1933 + Saddam Cloud. (Installation view)
From the series Modern Entanglements, U.S. Interventions, 2006-2009. In collaboration with Media Farzin.
Ebonized wood, wire, metal bar, nylon and vinyl fabric, carbon fiber, lead, cotton thread, vinyl lettering on wall and wall label with narrative text. Dimensions variable. Ed. 5 + AP
    Model of Alexander Calder’s Cône d’ébène, 1933 + Saddam Cloud. (Installation view)
    From the series Modern Entanglements, U.S. Interventions, 2006-2009. In collaboration with Media Farzin.
    Ebonized wood, wire, metal bar, nylon and vinyl fabric, carbon fiber, lead, cotton thread, vinyl lettering on wall and wall label with narrative text. Dimensions variable. Ed. 5 + AP
  • Zero Halliburton, 2007 (installation views). From the series Modern Entanglements, U.S. Interventions, 2006-2007
Paper documents reproductions (photocopy), aluminum luggage with leather and paper tags. 80 x 100 x 80 cm. Edition: unique.
Photo Arturo Sanchez, courtesy Henrique Faria Fine Art, NY
    Zero Halliburton, 2007 (installation views). From the series Modern Entanglements, U.S. Interventions, 2006-2007
    Paper documents reproductions (photocopy), aluminum luggage with leather and paper tags. 80 x 100 x 80 cm. Edition: unique.
    Photo Arturo Sanchez, courtesy Henrique Faria Fine Art, NY
  • Zero Halliburton, 2007 (Luggage tag. detail). From the series Modern Entanglements, U.S. Interventions, 2006-2007
Paper documents reproductions (photocopy), aluminum luggage with leather and paper tags. 80 x 100 x 80 cm. Edition: unique.
Photo Arturo Sanchez, courtesy Henrique Faria Fine Art, NY
    Zero Halliburton, 2007 (Luggage tag. detail). From the series Modern Entanglements, U.S. Interventions, 2006-2007
    Paper documents reproductions (photocopy), aluminum luggage with leather and paper tags. 80 x 100 x 80 cm. Edition: unique.
    Photo Arturo Sanchez, courtesy Henrique Faria Fine Art, NY
  • UNstabile-Mobile, (installation view). From the series Modern Entanglements, U.S. Interventions, 2006
Paper documents, vinyl lettering, framed New Yorker magazine and Calder like sculptural model of Iraqi oilfields
made of carbon fiber, plastic, metal and Plexiglas. Dimensions variable
    UNstabile-Mobile, (installation view). From the series Modern Entanglements, U.S. Interventions, 2006
    Paper documents, vinyl lettering, framed New Yorker magazine and Calder like sculptural model of Iraqi oilfields
    made of carbon fiber, plastic, metal and Plexiglas. Dimensions variable
  • Chinchorro / Hammock, (installation views). From the series Modern Entanglements, 2004-2010
In collaboration with Rolando Peña and Yąnomamö elder. Hand-woven Palm fiber hammok, framed serigraphy and wall labels
Installation dimensions: 3 x 4 x 3 m. approx. Photo courtesy Galerie Martin Janda, Vienna
    Chinchorro / Hammock, (installation views). From the series Modern Entanglements, 2004-2010
    In collaboration with Rolando Peña and Yąnomamö elder. Hand-woven Palm fiber hammok, framed serigraphy and wall labels
    Installation dimensions: 3 x 4 x 3 m. approx. Photo courtesy Galerie Martin Janda, Vienna
  • 3 corrupted files from page 10, [m3], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
    3 corrupted files from page 10, [m3], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
    Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
  • 2 corrupted files from page 11, [m5], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
    2 corrupted files from page 11, [m5], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
    Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
  • 2 corrupted files from page 13, [m8], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
    2 corrupted files from page 13, [m8], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
    Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 114 x 152 cm. approx. Ed. 3 + 2 AP
  • 2 corrupted files from page 18, [m12]. 2006−2008, From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 152 x 114 cm. approx. Ed. 3 + 2 AP
    2 corrupted files from page 18, [m12]. 2006−2008, From the series Los Manolos, Plan Caracas No. 2, 1974-1976
    Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 152 x 114 cm. approx. Ed. 3 + 2 AP
  • Corrupted file from page 19, [m13], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 152 x 114 cm. approx. Ed. 3 + 2 AP
    Corrupted file from page 19, [m13], 2006−2008. From the series Los Manolos, Plan Caracas No. 2, 1974-1976
    Digital C-Print, from faulty Scanner, UV Diasec mounting with Dibond backing and aluminum stretcher. 152 x 114 cm. approx. Ed. 3 + 2 AP
  • SEPTEMBER 11 2001 (detail), 2001  	
From the series Systemic Analysis (Reinsertions).
Laser cut Time magazine Sept. 14, 2001. Unframed size: 26.5 x 20 cm. Ed. 3 + 2AP
    SEPTEMBER 11 2001 (detail), 2001  
    From the series Systemic Analysis (Reinsertions).
    Laser cut Time magazine Sept. 14, 2001. Unframed size: 26.5 x 20 cm. Ed. 3 + 2AP
  • The President wants You to buy this magazine, 2001
From the series Systemic Analysis, 2001-2002, (installation view)
Laser cut Smart Money and Playboy magazines. Dimensions variable. Ed. 3 + 2AP
    The President wants You to buy this magazine, 2001
    From the series Systemic Analysis, 2001-2002, (installation view)
    Laser cut Smart Money and Playboy magazines. Dimensions variable. Ed. 3 + 2AP
  • We Will Never Forget, 2001. 
From the series Systemic Analysis, (Folios) 
Laser cut of page 4 folio, Time Magazine Oct. 1, 2001, on perforated matt board. Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
    We Will Never Forget, 2001.
    From the series Systemic Analysis, (Folios)
    Laser cut of page 4 folio, Time Magazine Oct. 1, 2001, on perforated matt board. Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
  • Ever, just America's fight, 2001. From the series Systemic Analysis, (Folios) 
Laser cut of page 87 folio, Time Magazine Oct. 1, 2001, on perforated matt board. 
Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
    Ever, just America's fight, 2001. From the series Systemic Analysis, (Folios)
    Laser cut of page 87 folio, Time Magazine Oct. 1, 2001, on perforated matt board.
    Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
  • SEEK AND YE SHALL FIND, 2001. From the series Systemic Analysis, (Folios)   
Laser cut of page 64 folio, Time Magazine April. 8, 2002, on perforated matt board.
Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
    SEEK AND YE SHALL FIND, 2001. From the series Systemic Analysis, (Folios)  
    Laser cut of page 64 folio, Time Magazine April. 8, 2002, on perforated matt board.
    Framed size: 47 x 69,5 cm. Ed. 3 + 2AP
  • Analysis (blue version), 2000-2005 
Real size documental photograph of the drawing, (framed) and video projection
Dimensions variable
    Analysis (blue version), 2000-2005
    Real size documental photograph of the drawing, (framed) and video projection
    Dimensions variable
  • Miranda Tower 1958 (detail), 1998	
From the series Symbolic Surplus-C<u>o</u>urt_ing wall, 1995­-2000	
Documental photograph
    Miranda Tower 1958 (detail), 1998
    From the series Symbolic Surplus-Court_ing wall, 1995­-2000
    Documental photograph
  • <I>Symbolic Surplus, Miranda Tower, Assemblage #5</I>
From the series <I>Symbolic Surplus-C<u>o</u>urt_ing wall</I>, 1995­-2000	
10 C-prints Diasec on Plexiglas plus one framed C-print. 
300 x 240 cm. Ed. 5
    Symbolic Surplus, Miranda Tower, Assemblage #5
    From the series Symbolic Surplus-Court_ing wall, 1995­-2000
    10 C-prints Diasec on Plexiglas plus one framed C-print.
    300 x 240 cm. Ed. 5
  • Assemblage #2 (detail view). From the series Symbolic Surplus-C<u>o</u>urt_ing wall, 1995­-2000	
10 C-prints Diasec on Plexiglas plus one framed C-print. 
240 x 180 cm. Ed. 5
    Assemblage #2 (detail view). From the series Symbolic Surplus-Court_ing wall, 1995­-2000
    10 C-prints Diasec on Plexiglas plus one framed C-print.
    240 x 180 cm. Ed. 5
  • Assemblage #1 (detail view). From the series Symbolic Surplus-C<u>o</u>urt_ing wall, 1995­-2000	
14 C-prints Diasec on Plexiglas plus one framed C-print. 
340 x 240 cm. Ed. 5
    Assemblage #1 (detail view). From the series Symbolic Surplus-Court_ing wall, 1995­-2000
    14 C-prints Diasec on Plexiglas plus one framed C-print.
    340 x 240 cm. Ed. 5
  • From the series, Hypothetical Relationships, 1994
Chalk intervention on flat roof, (performance)
Documental photograph
    From the series, Hypothetical Relationships, 1994
    Chalk intervention on flat roof, (performance)
    Documental photograph