Through his interest in autoconstrucción (“self-construction”), Abraham Cruzvillegas practice explores economies of the makeshift, the recycled and the handmade. His recent work gravitates toward an examination of this childhood home and the neighborhood of Ajusco, a district in the south of Mexico City. For his solo exhibition at REDCAT, the artists presents a newly commissioned film shot on location in Ajusco that employs an unconventional narrative, non-professional actors, and unexpected moments of intimacy and encounter.  

In 2007, Walid Raad initiated a research and art project about the history of contemporary and modern art in the Arab world. On the one hand, Raad's project explores the recent emergence of a new physical infrastructure for the visual arts in the Middle East and the Gulf in the form of workshops, festivals, funds, art schools, white-cube galleries, large museums, journals, and private and public collections.

9 Scripts from a Nation at War is a multi-channel video installation that responds to conditions and questions that have arisen since March 2003, taking the U.S. context as an initial point of view. While 2003 marks the beginning of the invasion of Iraq by U.S. military forces, it is a conflict that reaches backwards and forwards in history and memory, as a "long war" that has few, if any, boundaries.

Haegue Yang’s practice stems from her interests in the subtle irregularities and minute possibilities that destabilize conventional order. Through deliberate acts of erasing, misplacing, or rearranging the ordinary, Yang’s work directs attention to the underlying structures that regulate perception and experienc