A Story of Negotiation

Installation view of the exhibition A Story of Negotiation at the Art Gallery of Ontario, Toronto, dated 2016 to 2017.

Francis Alÿs  Installation view of A Story of Negotiation at the Art

Installation view of the exhibition A Story of Negotiation at the Art Gallery of Ontario, Toronto, dated 2016 to 2017.

Francis Alÿs  Installation view of A Story of Negotiation at the Art

Installation view of the exhibition A Story of Negotiation at Museo de Arte Latinoamericano de Buenos Aires (MALBA) - Fundación Costantini, dated 2015 to 2016.

Francis Alÿs  Installation view of Don’t Cross the Bridge Before You

Installation view of the exhibition A Story of Negotiation at Museo de Arte Latinoamericano de Buenos Aires (MALBA) - Fundación Costantini, dated 2015 to 2016.

Francis Alÿs  Installation view of A Story of Negotiation at Museo de

Installation view of the exhibition A Story of Negotiation at Museo de Arte Latinoamericano de Buenos Aires (MALBA) - Fundación Costantini, dated 2015 to 2016.

Francis Alÿs  Installation view of A Story of Negotiation at Museo de

Installation view of the exhibition A Story of Negotiation at Museo de Arte Latinoamericano de Buenos Aires (MALBA) - Fundación Costantini, dated 2015 to 2016.

Francis Alÿs  Installation view of A Story of Negotiation at Museo de

 

Art Gallery of Ontario, Toronto, Canada

2015–2017

A Story of Negotiation presented significant projects from the last two decades by Francis Alÿs, and travelled from the Museo Tamayo Arte Contemporáneo in Mexico City to the Museo de Arte Latinoamericano de Buenos Aires (MALBA), the Museo Nacional de Bellas Artes in Havana, and the Art Gallery of Ontario in Toronto.

The exhibition centered around three large-scale video works which reflect Alÿs's distinct sensibility towards anthropological and geopolitical concerns. Don’t Cross the Bridge Before You Get to the River (2008) documents an event in which local children stood in the sea at either shore of the Strait of Gibraltar holding boats made from shoes; the aim was to create the illusion of a bridge on the horizon. In Tornado (2000-2010), Alÿs chases dust-devils in the Mexican outback. REEL-UNREEL (2011) depicts a street game played by children in Kabul who follow a reel of film as it unravels through the old part of town.

"As ambitious as it is charming, this grand exhibition of Alÿs's oeuvre allows the audience to witness a brilliant conjugation of the sociopolitical language that is applied throughout his career." — Aesthetica Magazine