Do you have the Richard Prince work? That one is titled:
Richard, I owe you one
The other is called "Gold".
There is no year of creation, concerning the Richard work, or at least I don't know. Maybe you can write down "whenever", or leave it discreetly? Gold is from 2008.
Best regards and have fun in Rio!

The mural is made of paper drawings distributed on the wall, influenced by cave paintings, creating a past-present panorama of a patriarchal state and its consequences, in order to reach a Brazilian feminism with its repercussions and openings.
A mural made to educate (and deceive) the looks that restrict and reject.
Almost childish, palatable language and colors that attract the unsuspecting spectator bring poignant themes and subjects that do not escape a second glance. To seduce those who approach them to engage in a deeper discussion about the control of women's bodies, the aggressions suffered, the restriction of rights, but also on the achievements of a movement that is broad and diverse.
In a moment of censorship, as we live in, a strategy is necessary to find cracks, to camouflage and to invade spaces in which these subjects are interdicted. Those who do not want to see the changes and silence feminism, these are precisely those who are afraid of its transforming character and must see it. In addition, the images evoke the struggle of the women to whom I dedicate this work.

Shot in the East New York section of Brooklyn around the time of Hurricane Sandy, Ditch Plains (HDV, 30 mins) is a dystopian sci-fi street dance film featuring members of Ringmasters Crew.
Like avatars running the levels of an apocalyptic video game, Ringmasters Corey, Jay Donn and Marty McFly hallucinate the city and its networks as a space of terror, mutation and magic. "Flexing," "bone breaking," "pauzing" and "connecting" in nighttime streets, hotel hallways and a posh Park Avenue apartment, the dancers improvise dream-like scenes suggesting digital death matches, stop-and-frisk situations and catastrophic man-machine interfaces. Meanwhile, documentary shots of Far Rockaway show the city's attempt to manage disaster in real life: police patrol the shattered flood zone as citizens line up with jerry cans. Scenes on iPhone screens play like Vine transmissions in a blacked-out world where no survivors or friends can receive them. Referencing contemporary pop spectacles such as Step Up Revolution, as well as Jean Rouch's The Mad Masters, Ditch Plains imagines a sort of End of Days street party while free-styling an abstract narrative about the fatal coupling of subjects and systems under conditions of permanent crisis.

In this performance, Vivian sings Airplane Samba, a song written by the bossa-nova composer Tom Jobim, that describes the sight and feeling of looking at Rio's landscape from an airplane.
Each phrase is sang and played in reverse mode. Vivian listens to the recording of the reversed phrase and tries to sing it that way. She then records herself singing backwards and reverses it once more and plays the new version. This process deteriorates two important bossa-nova materials: breathing and the Brazilian Portuguese accent. Vivian was followed by the artist Maíra das Neves who listened to her words and tried to write them down.

Crime scenes are cordoned off by police stanchions guide patrons through banks; and screens block the scene of an accident – these are all methods to deter us from getting closer to things, places or valuable goods. Andrea Winkler stages appropriated re-enactments of this security-minded order to suggest a rapidly destabilizing world. She transfers these blocking devices very precisely into complex three-dimensional and accessible collages that, at the same time, always transform the surrounding architecture and the exhibition situation into a precarious and provocative scenario. The fact that the motif-constellations themselves represent deviations from the norm in relation to accidents, underlines the artist's strategy. Andrea Winkler constructs a double-bind: on the one hand, the situations appear as a mere image or mimetic model of reality, which as art lacks any actual function; on the other hand, the works point to a real aesthetic system that creates a place with actual social regulations.

A central element of Charlotte Arnhold's practice is playing with identity and the deconstruction of gender ideology.
Creating surreal, dream-like aesthetics, blurring the lines between reality and imagination, she opens space for the doubt and confusion of existing social beliefs and practices.

The structures both refer to my old apartment, the very same floor plan. In the picture on the left there are extended stages, which treat the structure as a memory palace, detaching itself from the structures of living. On the right, the drawing refers both to the dynamics of movement in the rooms and to the fact that the spaces are also described by symbols.

A central element of Charlotte Arnhold's practice is playing with identity and the deconstruction of gender ideology.
Creating surreal, dream-like aesthetics, blurring the lines between reality and imagination, she opens space for the doubt and confusion of existing social beliefs and practices.

Inspired by the street demonstrations that took place in Brazil in 2013, demanding better public services, ending corruption and positioning itself against the exorbitant expenses with the mega events that are to happen in the country and resulting abuses against the population, OPAVIVARÁ! takes phrases of protest and reflection to the beach cangas (Brazilian type of beach towels).
The beaches have always been related only as spaces of alienation, leisure and rest. However, its power to gather people from all geographical areas, social classes and religions transforms this space into a huge agora of sand, salt and sun, capable of promoting meetings and generating conversations and discussions. Usually the beach cangas bring images of a colorful, vibrant country with its lush landscapes. Undoubtedly these are important Brazilian characteristics. But by adding to all this a layer of protest and thought, we activated the beach space, generating other relationships, just as the demonstrations did in 2013, invading the streets with the transgressive power of the carnival, adding to it cries of propositional protests, creating an environment of party and politics, that, even though being violently repressed, continue their path.

For the expansive work Lunapark (2012) made of glass, light and music Michaela Melián arranges glass objects on a table, which are illuminated in a dark room by a slide projector. Day-to-day everyday utensils such as bottles, lamps, cups, vases or CD covers can be found here, as well as precious glasses or handmade prisms, made especially for the installation and shredded in geometric shapes.
The different objects on the table are connected by broken beams of light to ever new constructivist constellations. The original contours dissolve into an abstract urban silhouette in a continuous flow.
The associative aesthetic of the fragile oscillating projection between light and darkness acquires an acoustic component in Lunapark while playing simultaneously a song produced by the artist using glass cups. In the case of the turntable and the slide projector, the artist deliberately uses analogue technical devices, which, as objects, become part of the installation. The use of glass alludes to utopian glass architecture ideas as used in the architectural views of Paul Scheerbart, Bruno Taut and the "Glass Chain" emerging at the beginning of the 20th century. Scheerbart called for the opening of architecture with the help of glass, from which he expected synergies for the development of culture. The utopian idea of ​​the changing social space also echoes in the "Luna Park" by Melián.

In its multi-media works, which take a critical approach to institutions, the artist collective Jochen Schmith illustrates the role of the artist and other protagonists in the art market. Against the backdrop of the conversation piece genre, which became popular in England in the 18th century, showing a group of middle class family members or friends as an informal group portrait in their domestic environment, Jochen Schmith uses subtle, site-specific interventions to question the relationship between private and public space at the hotel room exhibition, between art and commercialisation, between authorship, the appropriation of artistic identity and the luxury consumer goods industry. The result initiates an exciting dialogue between the work of Jochen Schmith and the semi-private interior if the hotel room, thereby leaving diverse traces and awakening very different associations with the "art business" in the viewer.

Inspired by the street demonstrations that took place in Brazil in 2013, demanding better public services, ending corruption and positioning itself against the exorbitant expenses with the mega events that are to happen in the country and resulting abuses against the population, OPAVIVARÁ! takes phrases of protest and reflection to the beach cangas (Brazilian type of beach towels).
The beaches have always been related only as spaces of alienation, leisure and rest. However, its power to gather people from all geographical areas, social classes and religions transforms this space into a huge agora of sand, salt and sun, capable of promoting meetings and generating conversations and discussions. Usually the beach cangas bring images of a colorful, vibrant country with its lush landscapes. Undoubtedly these are important Brazilian characteristics. But by adding to all this a layer of protest and thought, we activated the beach space, generating other relationships, just as the demonstrations did in 2013, invading the streets with the transgressive power of the carnival, adding to it cries of propositional protests, creating an environment of party and politics, that, even though being violently repressed, continue their path.

The structures both refer to my old apartment, the very same floor plan. In the picture on the left there are extended stages, which treat the structure as a memory palace, detaching itself from the structures of living. On the right, the drawing refers both to the dynamics of movement in the rooms and to the fact that the spaces are also described by symbols.