Martine Syms | Bridget Donahue

Labour, The Art Museum at the University of Toronto, Toronto, Canada, 2024

Intro to Threat Modeling, 2018. Digital video (color, sound). 4:32 minutes. Edition of 5 plus

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Labour, The Art Museum at the University of Toronto, Toronto, Canada, 2024

Steven or Act II, 2023

Video, color and sound in custom frame, 2 minutes 52 seconds, edition of 5 plus I AP

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Ate or Act III, 2023

Video, color and sound in custom frame, 4 minutes, 12 seconds, edition of 5 plus I AP

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Sicks or Act I, 2023

Video, color and sound in custom frame, 1 minute, 55 seconds, edition of 5 plus I AP

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Despite All My Accolade They Still Gave Me a Predatory Loan aka The Case for Reparations, 2023

Adhesive wall material as shown: 95 ½ × 140 ⅛ in. (242.57 × 355.92 cm), dimensions variable, edition of 1

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Despite All My Accolade They Still Gave Me a Predatory Loan aka The Case for Reparations, 2023

My treat It’s here, 2023

Cotton and aluminum 65 × 42 in. (165.10 × 106.68 cm)

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Dream Nightmare (still), 2022

Digital video 7:29 minutes

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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)

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DED, 2021

Digital video (color, sound) Screen: 41 × 71 in. (104.14 × 180.34 cm) 15:35 minutes

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Installation View, Loot Sweets

Bridget Donahue, New York, July 15 - September 25, 2021

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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

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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

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Loot Sweets, 2021 Nylon, silk, wool, wood, metal, embedded screen with digital video

Installation View, Loot Sweets

Bridget Donahue, New York, July 15 - September 25, 2021

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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

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Do you have any film posters of ... BLACK MOVIES? He understands, 2021

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

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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

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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

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Ugly Plymouths, 2020

Three channel video (color, sound) 8:00 minute loop

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Ugly Plymouths, 2020

Three channel video (color, sound), 8:00 minute loop

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Ugly Plymouths, 2020

Three channel video (color, sound), 8:00 minute loop

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Ugly Plymouths, 2020

Three channel video (color, sound), 8:00 minute loop

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Ugly Plymouths, 2020

Three channel video (color, sound) 8:00 minute loop

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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

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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

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Intro to Threat Modeling (detail), 2019

Digital video (color, sound) continuously looping inset in MDF pedestal mount, 4:32 minutes

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Intro to Threat Modeling (detail), 2019

Digital video (color, sound) continuously looping inset in MDF pedestal mount, 4:32 minutes

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Ringier Annual Report, 2019

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Ringier Annual Report, 2019

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Installation View, Boon, 2019

Secession, Vienna

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Installation View, Boon, 2019

Secession, Vienna

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Ringier Annual Report, 2019

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Ringier Annual Report, 2019

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Ringier Annual Report, 2019

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Installation View, Boon, 2019

Secession, Vienna

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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)

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Installation View, Sadie Coles HQ, London

Installation View, The 12th Gwangju Biennale Exhibition: Imagined Borders

Mythiccbeing, 2018, Infinite loop, interactive video on LED panels (4:3); Stereo Speakers / SUB / DAC

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Installation View, The 12th Gwangju Biennale Exhibition: Imagined Borders

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)

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Installation View, Bridget Donahue, New York

Mythiccbeing, 2018, Interactive AI website for 4 monitors

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Installation View, Bridget Donahue, New York

Mythiccbeing (still), 2018

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Mythiccbeing (still), 2018

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Installation View, Bridget Donahue, New York

Mythiccbeing, 2018, Interactive AI website for 4 monitors

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Installation View, Bridget Donahue, New York

Mythiccbeing, 2018, Interactive AI website for 4 monitors

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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)

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Installation View, ICA at Virginia Commonwealth University, Richmond

Mythiccbeing, 2018, Interactive AI website for 4 monitors

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Installation View, ICA at Virginia Commonwealth University, Richmond

Mythiccbeing, 2018, Interactive AI website for 4 monitors

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40x60, 2017

Archival pigment print on found poster, 60 × 40 in. (152.40 × 101.60 cm) (framed)

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40x60, 2017

Archival pigment print on found poster 60 × 40 in. (152.40 × 101.60 cm) (framed)

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Incense Sweaters & Ice (still), 2017

Video (color, sound), 1:09:00 minutes

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Incense Sweaters & Ice, 2017, Video (color, sound), 1:09:00 minutes

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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 (still), 2017

Video (color, sound), 1:09:00 minutes

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Incense Sweaters & Ice (still), 2017

Video (color, sound), 1:09:00 minutes

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Incense Sweaters & Ice (still), 2017

Video (color, sound), 1:09:00 minutes

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One Sheet, 2017

Archival pigment print on found poster, 40 × 27 in. (101.60 × 68.58 cm) (framed)

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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)

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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

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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

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Installation View

Fact & Trouble, April 20 - June 19, 2016, Institute of Contemporary Arts London (ICA), Photo: Mark Blower

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Installation View

Fact & Trouble, April 20 - June 19, 2016, Institute of Contemporary Arts London (ICA), Photo: Mark Blower

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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

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Installation view, Institute of Contemporary Arts, London, Photo: Mark Blower

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

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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

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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

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Installation View, Commercial Break, Public Art Fund, New York

Lesson LXXV, 2017, Single channel video (color), continuously looping

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Installation View, Commercial Break, Public Art Fund, New York

Lessons I-CLXXX (still), 2014-2018

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Lessons I-CLXXX (still), 2014-2018

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Lessons I-CLXXX (still), 2014-2018

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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

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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

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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

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SHE MAD: Laughing Gas (still), 2016

Video still, 4-channel video installation (color, sound), 6:59 minute loop

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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)

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Installation View, Hammer Museum, Los Angeles

Is You Is Or Is You Ain't, 2016, Wall painting

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A Pilot For A Show About Nowhere, 2015

Two-channel video, color, sound, 24:29 minutes

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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

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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley

Show Bible, 2015

published by Dominica, Inc, included in 2016 Triennial: Surround Sound, New Museum

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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley

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Installation View, New Museum Triennial, 2015, Photo: Benoit Pailley

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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

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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

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Installation View

Vertical Elevated Oblique, 2015, Bridget Donahue, New York

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Notes on Gesture (still)

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Notes on Gesture (still)

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The Mundane Afrofuturist Manifesto, 2007-2015

Paint on wall

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The Mundane Afrofuturist Manifesto, 2007-2015

Paint on wall

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Installation View, ICA Philadelphia, Colored People Time, 2019

The Mundane Afrofuturist Manifesto, 2007-2015

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Installation View, ICA Philadelphia, Colored People Time, 2019