Future Generation Art Prize @ Venice 2017
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Photographs provided by the PinchukArtCentre © 2017. Photographed by Sergey Illin.
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Palazzo Contarini Polignac (Venice, Italy)
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Palazzo Contarini Polignac (Venice, Italy)
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Dineo Seshee Bopape (South Africa) mabu/mubu/mmu, 2017 Soil, ceramics, herbs, crystals, coal, ash, sound
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Dineo Seshee Bopape (South Africa) mabu/mubu/mmu, 2017 Soil, ceramics, herbs, crystals, coal, ash, sound
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Dineo Seshee Bopape (South Africa) mabu/mubu/mmu, 2017 Soil, ceramics, herbs, crystals, coal, ash, sound
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Dineo Seshee Bopape (South Africa) mabu/mubu/mmu, 2017 Soil, ceramics, herbs, crystals, coal, ash, sound
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Phoebe Boswell (Kenya). Mutumia, 2016. Interactive installation Handdrawn animation, looped projection, pressure sensors, interactive code, voice recordings
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Phoebe Boswell (Kenya). Mutumia, 2016, Interactive installation
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Phoebe Boswell (Kenya). Mutumia, 2016. Interactive installation Handdrawn animation, looped projection, pressure sensors, interactive code, voice recordings
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Phoebe Boswell (Kenya). Mutumia, 2016. Interactive installation Handdrawn animation, looped projection, pressure sensors, interactive code, voice recordings
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EJ Hill, United States Pillar, 2017 Wood and rubber Dimensions Variable Produced by PinchukArtCentre
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EJ Hill (United States) An Arrangement of Perpetuities, 2017
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Njideka Akunyili Crosby. Cassava Garden, 2015. Acrylic, transfers, colored pencils, charcoal, commemorative fabric on paper
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Njideka Akunyili Crosby. Cassava Garden, 2015. Acrylic, transfers, colored pencils, charcoal, commemorative fabric on paper
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Vivian Caccuri (Brazil) Oratorio (Tidal Wave), 2017. Subwoofers, tallow candles, microphone stands, sound amplifiers, iPod, mono audio, сomposed by the artist
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Vivian Caccuri (Brazil) Oratorio (Tidal Wave), 2017. Subwoofers, tallow candles, microphone stands, sound amplifiers, iPod, mono audio, сomposed by the artist
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Ibrahim Mahama (Ghana) Non Orientable Nkansa II. 1901-2030, 2016. Exchanged shoemaker boxes, construction boards, old train parts, mix media
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Ibrahim Mahama (Ghana) Non Orientable Nkansa II. 1901-2030, 2016. Exchanged shoemaker boxes, construction boards, old train parts, mix media
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Ibrahim Mahama (Ghana) Non Orientable Nkansa II. 1901-2030, 2016. Exchanged shoemaker boxes, construction boards, old train parts, mix media
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Ibrahim Mahama (Ghana) Non Orientable Nkansa II. 1901-2030, 2016. Exchanged shoemaker boxes, construction boards, old train parts, mix media
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Open Group (Ukraine) Untitled, 2015 – Ongoing Table, printer, internet interface, paper Produced by PinchukArtCentre
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Open Group (Ukraine) Untitled, 2015 – Ongoing Table, printer, internet interface, paper Produced by PinchukArtCentre
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Open Group (Ukraine) Untitled, 2015 – Ongoing Table, printer, internet interface, paper Produced by PinchukArtCentre
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Iván Argote (Colombia) Sweet Potato, 2017 Aluminium, gold leaf Courtesy of the Artist and Perrotin Co-produced by PinchukArtCentre
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Carla Chaim (Brazil) Project to Resize the Room, 2017 Carbon paper, video Produced by PinchukArtCentre
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Carla Chaim (Brazil) Project to Resize the Room, 2017 Carbon paper, video Produced by PinchukArtCentre
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Carla Chaim (Brazil) Project to Resize the Room, 2017 Carbon paper, video Produced by PinchukArtCentre
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Andy Holden (United Kingdom) Animated Shorts and related works from Cartoon Landscape, 2017
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Andy Holden (United Kingdom) Animated Shorts and related works from Cartoon Landscape, 2017
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Andy Holden (United Kingdom) Animated Shorts and related works from Cartoon Landscape, 2017
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Andy Holden (United Kingdom) Animated Shorts and related works from Cartoon Landscape, 2017
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Andy Holden (United Kingdom) Animated Shorts and related works from Cartoon Landscape, 2017
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Kameelah Janan Rasheed (United States) Are We There Yet? (and other questions of proximity,destination, and relative comfort), 2017 Screen print on fabric Produced by PinchukArtCentre
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Sasha Pirogova (Russia). MONO, 2016 Video installation, 2 channels, 15’ 32’’
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Kemang Wa Lehulere (South Africa) Another Homeless Song (for RRR Dhlomo) 1, 2015 Salvaged school desks (wood and steel), music stands, gumboots, paint, porcelain dogs
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Kemang Wa Lehulere (South Africa) Another Homeless Song (for RRR Dhlomo) 1, 2015 Salvaged school desks (wood and steel), music stands, gumboots, paint, porcelain dogs
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Kemang Wa Lehulere, (South Africa) Another Homeless Song (for RRR Dhlomo) 1, 2015 Salvaged school desks (wood and steel), music stands, gumboots, paint, porcelain dogs
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Kemang Wa Lehulere (South Africa) Another Homeless Song (for RRR Dhlomo) 1, 2015 Salvaged school desks (wood and steel), music stands, gumboots, paint, porcelain dogs
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Kemang Wa Lehulere (South Africa) Teacher Don’t Teach Me Nonsense, 2017 Brick, Chalk on Blackboard paint, dimensions variable
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Kemang Wa Lehulere (South Africa) Teacher Don’t Teach Me Nonsense, 2017 Brick, Chalk on Blackboard paint, dimensions variable
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Kemang Wa Lehulere (South Africa) Another Homeless Song (for RRR Dhlomo) 1, 2015 Salvaged school desks (wood and steel), music stands, gumboots, paint, porcelain dogs
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Firelei Báez (Dominican Republic) DREAMer (a demand for opacity that weaves no boundaries) Acrylic and oil on canvas, 2017
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Firelei Báez (Dominican Republic) DREAMer (a demand for opacity that weaves no boundaries) Acrylic and oil on canvas, 2017
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Firelei Báez (Dominican Republic) Given the ground ( the fact that it amazes me does not mean I relinquish it), An irreducible singularity (speaking to the space you fill and you keep), Acrylic and oil on canvas, 2017,
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Li Ran (China), Retransformation of the Supporting Roles, 2017, Four-channel HD video installation, black metal and wood screening board & table
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Li Ran (China), Retransformation of the Supporting Roles, 2017, Four-channel HD video installation, black metal and wood screening board & table
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Li Ran (China), Retransformation of the Supporting Roles, 2017, Four-channel HD video installation, black metal and wood screening board & table
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Li Ran (China), Retransformation of the Supporting Roles, 2017, Four-channel HD video installation, black metal and wood screening board & table
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Li Ran (China), Retransformation of the Supporting Roles, 2017, Four-channel HD video installation, black metal and wood screening board & table
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Christian Falsnaes (Denmark) Feed 2, 2017 Curtains, live-stream HD projection, camera-person, instructor, visitors Produced by PinchukArtCentre
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Christian Falsnaes (Denmark) Feed 2, 2017 Curtains, live-stream HD projection, camera-person, instructor, visitors Produced by PinchukArtCentre
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Christian Falsnaes (Denmark) Feed 2, 2017 Curtains, live-stream HD projection, camera-person, instructor, visitors Produced by PinchukArtCentre
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Christian Falsnaes (Denmark) Feed 2, 2017 Curtains, live-stream HD projection, camera-person, instructor, visitors Produced by PinchukArtCentre
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Kameelah Janan Rasheed (United States) (stammer, stammer; they jam) / but, a remedy: a set of exercises, 2017 Archival inkjet prints and xeroxes. Produced by PinchukArtCentre
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Kameelah Janan Rasheed (United States) (stammer, stammer; they jam) / but, a remedy: a set of exercises, 2017 Archival inkjet prints and xeroxes. Produced by PinchukArtCentre
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Kameelah Janan Rasheed (United States) (stammer, stammer; they jam) / but, a remedy: a set of exercises, 2017 Archival inkjet prints and xeroxes. Produced by PinchukArtCentre
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Aslı Çavuşoğlu (Turkey) Future Tense, 2017 Newspaper edition of 10000 16 pages, black and white. Produced by PinchukArtCentre
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Aslı Çavuşoğlu (Turkey) Future Tense, 2017 Newspaper edition of 10000 16 pages, black and white. Produced by PinchukArtCentre
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Aslı Çavuşoğlu (Turkey) Future Tense, 2017 Newspaper edition of 10000 16 pages, black and white. Produced by PinchukArtCentre
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Aslı Çavuşoğlu (Turkey) Future Tense, 2017 Newspaper edition of 10000 16 pages, black and white. Produced by PinchukArtCentre
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Vajiko Chachkhiani (Georgia) Winter Which Was Not There, 2017 Video, 9’ 00’’ Co-produced by PinchukArtCentre
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Vajiko Chachkhiani (Georgia) Winter Which Was Not There, 2017 Video, 9’ 00’’ Co-produced by PinchukArtCentre