Yeesookyung, Translated Vase, 2013, Los Angeles County Museum of Art, Purchased with funds provided by AMOREPACIFIC Corporation, © Yeesookyung, courtesy of Locks Gallery, photo © Museum Associates/LACMA

Linda Nishio, Kikoemasu ka? (Can you hear me?), 1980, Los Angeles County Museum of Art, Ralph M. Parsons Fund, © Linda Nishio, photo © Museum Associates/LACMA

Bowl, late 15th century, Los Angeles County Museum of Art, purchased with funds provided by the Nasli M. Heeramaneck Collection, gift of Joan Palevsky, photo © Museum Associates/LACMA

Yeesookyung, Translated Vase, 2013, Los Angeles County Museum of Art, Purchased with funds provided by AMOREPACIFIC Corporation, © Yeesookyung, courtesy of Locks Gallery, photo © Museum Associates/LACMA

Ryūryūkyo Shinsai, Woman Making Rabbit Shadow for Small Boy, 1807, Los Angeles County Museum of Art, gift in memory of Mary Thayer Gruys, photo © Museum Associates/LACMA

Ryūryūkyo Shinsai, Woman Making Rabbit Shadow for Small Boy, 1807, Los Angeles County Museum of Art, gift in memory of Mary Thayer Gruys, photo © Museum Associates/LACMA

Las 1,443 letras apiladas aleatoriamente sobre este pedestal corresponden a un episodio de la novela Las ciudades invisibles (1972) de Italo Calvino. Soares utiliza un montón de lenguaje para formar una escultura que es tanto una evocación del texto original como todas las posibles reconfiguraciones permitidas por un número finito de caracteres.

The 1,443 characters randomly piled on a pedestal here correspond to an episode in the novel Invisible Cities (1972) by Italo Calvino. Soares uses a heap of language to make a sculpture that is as much an evocation of the original text as it is of all the possible reconfigurations allowed by a finite number of characters.

Valeska Soares, Untitled from the series Detour, 2005, Los Angeles County Museum of Art, Purchased with funds provided by Andrew Hauptman, © Valeska Soares, photo © Museum Associates/LACMA

Para su serie Pregúntale al polvo (1989–92), Bernard fotografió paisajes que se hicieron icónicos a través de películas famosas. La artista duplicó cuidadosamente un cuadro de la película para activar memorias cinematográficas y un sentido de déjà vu. Bernard se coloca en el mismo lugar que el director de la película evocada. Esta fotografía cita visualmente la terraza desde la cual Harry Callahan apuntó a una de sus víctimas en la película Harry, el sucio (1971) por Don Siegel.

For her series Ask the Dust (1989–92), Bernard photographed landscapes that became iconic through famous movies. The artist fastidiously duplicated a frame of the film to trigger cinematic memories and a sense of déjà vu. Bernard stands in the same place where the director of the evoked movie once stood. This photograph visually quotes the terrace from which Harry Callahan aimed at one of his victims in the film Dirty Harry (1971) by Don Siegel.