Martine Syms
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One Sheet, 2022
Archival pigment print 41 × 27 in. (104.14 × 68.58 cm) 41.3125 × 27.3125 × 1 ½ in. (104.93 × 69.37 × 3.81 cm) (framed)[0/78]
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DED, 2021
Digital video (color, sound) Screen: 41 × 71 in. (104.14 × 180.34 cm) 15:35 minutes[1/78]
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Installation View, Loot Sweets
Bridget Donahue, New York, July 15 - September 25, 2021[2/78]
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Bonnet Core, 2021
Cotton, rhinestones, metal, paint, lace, polyester, thread 39 ⅜ × 18 ⅛ × 25 ¾ in. (100.01 × 46.04 × 65.41 cm). Photo: Gregory Carideo[3/78]
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Loot Sweets, 2021 Nylon, silk, wool, wood, metal, embedded screen with digital video
57 × 24 × 2 in. (144.78 × 60.96 × 5.08 cm) 11:48 minutes. Photo: Gregory Carideo[4/78]
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Installation View, Loot Sweets
Bridget Donahue, New York, July 15 - September 25, 2021[5/78]
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Do you have any film posters of ... BLACK MOVIES? He understands, 2021
Plastic, tape, glue, paper, indigo prints with adhesive backing 32 × 23 ⅝ in. (81.28 × 60.01 cm) 33 ¼ × 24 ¾ × 1 ½ in. (84.46 × 62.87 × 3.81 cm) (framed). Photo: Gregory Carideo[6/78]
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The Taxing Woman, 2021
Oil pastel on paper, 16 × 12 in. (40.64 × 30.48 cm) 18 ⅛ × 14 ¼ × 1 ½ in. (46.04 × 36.20 × 3.81 cm) (framed). Photo: Gregory Carideo[7/78]
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Tim Apple Has Got to Go, 2021
Laser cut cardboard, indigo prints with adhesive backing, embedded screen 54 × 47 × 9 ½ in. (137.16 × 119.38 × 24.13 cm). Photo: Gregory Carideo[8/78]
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What Artists Wear, 2021
Cotton, paper, metal, plastic, thread, tape, indigo prints with adhesive backing on wood frame 72 × 36 × 4 in. (182.88 × 91.44 × 10.16 cm). Photo: Gregory Carideo[9/78]
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Ugly Plymouths, 2020
Three channel video (color, sound) 8:00 minute loop[10/78]
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Ugly Plymouths, 2020
Three channel video (color, sound), 8:00 minute loop[11/78]
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Ugly Plymouths, 2020
Three channel video (color, sound), 8:00 minute loop[12/78]
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Ugly Plymouths, 2020
Three channel video (color, sound), 8:00 minute loop[13/78]
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Ugly Plymouths, 2020
Three channel video (color, sound) 8:00 minute loop[14/78]
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Installation View, 2019 Whitney Biennial
Intro to Threat Modeling - Full Installation, 2019, Digital video (color, sound) continuously looping inset in MDF pedestal mount, 8 archival pigment prints, latex wall painting[15/78]
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Installation View, 2019 Whitney Biennial
Intro to Threat Modeling - Full Installation, 2019, Digital video (color, sound) continuously looping inset in MDF pedestal mount, 8 archival pigment prints, latex wall painting[16/78]
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Intro to Threat Modeling (detail), 2019
Digital video (color, sound) continuously looping inset in MDF pedestal mount, 4:32 minutes[17/78]
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Intro to Threat Modeling (detail), 2019
Digital video (color, sound) continuously looping inset in MDF pedestal mount, 4:32 minutes[18/78]
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Ringier Annual Report, 2019
[19/78]
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Ringier Annual Report, 2019
[20/78]
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Installation View, Boon, 2019
Secession, Vienna[21/78]
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Installation View, Boon, 2019
Secession, Vienna[22/78]
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Ringier Annual Report, 2019
[23/78]
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Ringier Annual Report, 2019
[24/78]
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Ringier Annual Report, 2019
[25/78]
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Installation View, Boon, 2019
Secession, Vienna[26/78]
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Installation View, Sadie Coles HQ, London
Mythiccbeing, 2018, Infinite loop, interactive video on LED panels (4:3); Stereo Speakers / SUB / DAC, 137 ¾ × 157 ½ × 23 ⅝ in. (349.89 × 400.05 × 60.01 cm)[27/78]
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Installation View, The 12th Gwangju Biennale Exhibition: Imagined Borders
Mythiccbeing, 2018, Infinite loop, interactive video on LED panels (4:3); Stereo Speakers / SUB / DAC[28/78]
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Installation View, Sadie Coles HQ, London
Mythiccbeing, 2018, Infinite loop, interactive video on LED panels (4:3); Stereo Speakers / SUB / DAC, 137 ¾ × 157 ½ × 23 ⅝ in. (349.89 × 400.05 × 60.01 cm)[29/78]
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Installation View, Bridget Donahue, New York
Mythiccbeing, 2018, Interactive AI website for 4 monitors[30/78]
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Mythiccbeing (still), 2018
[31/78]
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Mythiccbeing (still), 2018
[32/78]
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Installation View, Bridget Donahue, New York
Mythiccbeing, 2018, Interactive AI website for 4 monitors[33/78]
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Installation View, Bridget Donahue, New York
Mythiccbeing, 2018, Interactive AI website for 4 monitors[34/78]
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Installation View, Sadie Coles HQ, London
Mythiccbeing, 2018, Infinite loop, interactive video on LED panels (4:3); Stereo Speakers / SUB / DAC, 137 ¾ × 157 ½ × 23 ⅝ in. (349.89 × 400.05 × 60.01 cm)[35/78]
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Installation View, ICA at Virginia Commonwealth University, Richmond
Mythiccbeing, 2018, Interactive AI website for 4 monitors[36/78]
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Installation View, ICA at Virginia Commonwealth University, Richmond
Mythiccbeing, 2018, Interactive AI website for 4 monitors[37/78]
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40x60, 2017
Archival pigment print on found poster, 60 × 40 in. (152.40 × 101.60 cm) (framed)[38/78]
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40x60, 2017
Archival pigment print on found poster 60 × 40 in. (152.40 × 101.60 cm) (framed)[39/78]
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Incense Sweaters & Ice (still), 2017
Video (color, sound), 1:09:00 minutes[40/78]
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Installation View of Projects 106: Martine Syms, Digital Image © 2017 The Museum of Modern Art, New York, Photographed by John Wronn
Incense Sweaters & Ice, 2017, Video (color, sound), 1:09:00 minutes[41/78]
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Incense Sweaters & Ice (still), 2017
Video (color, sound), 1:09:00 minutes[42/78]
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Incense Sweaters & Ice (still), 2017
Video (color, sound), 1:09:00 minutes[43/78]
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Incense Sweaters & Ice (still), 2017
Video (color, sound), 1:09:00 minutes[44/78]
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One Sheet, 2017
Archival pigment print on found poster, 40 × 27 in. (101.60 × 68.58 cm) (framed)[45/78]
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Lessons LXXV (still), 2017
Single channel video (color), continuously looping, inset in MDF pedestal mount 22 x 50 x 29.25 inches (55.88 x 127.00 x 74.30 cm)[46/78]
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Installation View
CONDO: Bridget Donahue presents Martine Syms: The Easy Demands hosted by Sadie Coles HQ, London, January 14–February 11, 2017[47/78]
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Installation View
CONDO: Bridget Donahue presents Martine Syms: The Easy Demands hosted by Sadie Coles HQ, London, January 14 - February 11, 2017[48/78]
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Installation View
Fact & Trouble, April 20 - June 19, 2016, Institute of Contemporary Arts London (ICA), Photo: Mark Blower[49/78]
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Installation View
Fact & Trouble, April 20 - June 19, 2016, Institute of Contemporary Arts London (ICA), Photo: Mark Blower[50/78]
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Installation view, Institute of Contemporary Arts, London, Photo: Mark Blower
Lessons I-CLXXX, 2014-2018, Two or three channel video (color, sound), 90 minutes: Series of 00:00:30 videos[51/78]
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Installation View, Human Resources, Los Angeles
Lessons I-CLXXX, 2014-2018, Two or three channel video (color, sound), 90 minutes: Series of 00:00:30 videos[52/78]
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Installation View, Human Resources, Los Angeles
Lessons I-CLXXX, 2014-2018, Two or three channel video (color, sound), 90 minutes: Series of 00:00:30 videos[53/78]
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Installation View, Human Resources, Los Angeles
Lessons I-CLXXX, 2014-2018, Two or three channel video (color, sound), 90 minutes: Series of 00:00:30 videos[54/78]
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Installation View, Commercial Break, Public Art Fund, New York
Lesson LXXV, 2017, Single channel video (color), continuously looping[55/78]
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Lessons I-CLXXX (still), 2014-2018
[56/78]
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Lessons I-CLXXX (still), 2014-2018
[57/78]
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Lessons I-CLXXX (still), 2014-2018
[58/78]
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Installation View, Hammer Museum, Los Angeles
SHE MAD: Laughing Gas, 2016, 4-channel video installation (color, sound), 6:59 minute loop[59/78]
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Installation View, Hammer Museum, Los Angeles
SHE MAD: Laughing Gas, 2016, 4-channel video installation (color, sound), 6:59 minute loop[60/78]
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Installation View, Hammer Museum, Los Angeles
SHE MAD: Laughing Gas, 2016, 4-channel video installation (color, sound), 6:59 minute loop[61/78]
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SHE MAD: Laughing Gas (still), 2016
Video still, 4-channel video installation (color, sound), 6:59 minute loop[62/78]
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Installation View, Hammer Museum, Los Angeles
Bertha Cut-out, 2016, Laser cut acrylic, artist's clothes, 96 × 48 in. (243.84 × 121.92 cm)[63/78]
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Installation View, Hammer Museum, Los Angeles
Is You Is Or Is You Ain't, 2016, Wall painting[64/78]
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A Pilot For A Show About Nowhere, 2015
Two-channel video, color, sound, 24:29 minutes[65/78]
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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley
A Pilot For A Show About Nowhere, 2015, Two-channel video, color, sound, 24:29 minutes[66/78]
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Show Bible, 2015
published by Dominica, Inc, included in 2016 Triennial: Surround Sound, New Museum[67/78]
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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley
[68/78]
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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley
[69/78]
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Borrowed Lady, 2016
4-channel video installation (color, sound), wall painting, color window film, Notes on Gesture: 10:27 minute loop[70/78]
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Borrowed Lady, 2016
4-channel video installation (color, sound), wall painting, color window film, Notes on Gesture: 10:27 minute loop[71/78]
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Installation View
Vertical Elevated Oblique, 2015, Bridget Donahue, New York[72/78]
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Notes on Gesture (still)
[73/78]
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Notes on Gesture (still)
[74/78]
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The Mundane Afrofuturist Manifesto, 2007-2015
Paint on wall[75/78]
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The Mundane Afrofuturist Manifesto, 2007-2015
Paint on wall[76/78]
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Installation View, ICA Philadelphia, Colored People Time, 2019
The Mundane Afrofuturist Manifesto, 2007-2015[77/78]