By Anthony Aziz, Sammy Cucher and Vinciane Jones
Aziz+Cucher is a duo made up of Anthony Aziz (b. USA, 1961) and Sammy Cucher (b. Peru, 1958). They have been working as a collaborative team since 1991, when they met as students at the San Francisco Art Institute. Their interdisciplinary practice includes video, photography, printmaking, digital animation, sculpture and large-scale jacquard tapestries. Aziz+Cucher are represented by Gazelli Art House. They have exhibited at the 46th Venice Biennale, MASS MoCA, the New Museum in New York, LACMA, the National Gallery of Berlin, the Museo Nacional Centro de Arte Reina Sofia in Madrid, and the Massachusetts Institute of Technology (MIT) in Cambridge, USA.
Their inaugural NFT is based on characters from a recent video installation “You’re Welcome and I’m Sorry,” commissioned by the Massachusetts Museum of Contemporary Art (MASS MoCA), in 2019. The work addresses the economic inequalities that polarize the US and the absurd theatre of recent politics.
Anthony Aziz and Sammy Cucher are considered pioneers in the field of digital imaging and post-photography, using diverse media to explore some of the most pressing issues of our time. Their work is project-based and idea-driven, with outcomes ranging from video installation and photography to printmaking, digital animation, sculpture and large-scale jacquard tapestries. The images, objects and installations they produce are meant to reflect on the boundaries of identity at a time when these are becoming increasingly fluid and undefined. Their work tries to reveal the pathologies associated with unfettered globalization, post-human conditions and the intersections between the social, the biological, and the technological. With all their projects the artists aim to create visual poetics that might express both the anxieties and expectations of living in such a moment.
One of the duo’s earliest projects, “Dystopia,” from 1995, came to international prominence at the 46th Venice Biennale. This series of photographic portraits was made during the onset of the world wide web and it represents a society turning inwards. The images feature a set of monumental headshots, or busts, with no discernable facial features. The effect was (and is) uncanny, and for some, downright shocking. These powerful images hit a nerve; they seemed to reflect the darker forces…
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