The Nightwatch

One of Francis Alÿs’ series of performative videos that politicize absurd or seemingly futile gestures, Paradox of Praxis 5 documents the artist’s nocturnal perambulations through Juárez as he kicks a ball of fire along the city’s desolate streets. Transcending metaphor, the eerie mobile conflagration traces out an imaginary map of a devastated city.

During the 5th Havana Biennial, artist Francis Alys put on his magnetic shoes and took daily walks through the streets of the city, collecting scraps of metal lying in his path.

For the last decade Alÿs has made repeated trips to the dusty highlands south of Mexico City to chase the tornadoes that frequently occur in that region at the end of the dry season. Tornado unfolds in three movements: waiting for the storms, pursuing them, and catching or missing them. Depicting a one-on-one challenge of the power of nature, the work is a recognition of human persistence, emphasizing the necessity of pursuing ideals however unattainable or absurd they may seem. It is also a reflection on the present chaotic state of Mexico and a study of the search for a moment of order within it; scientifically speaking, tornadoes are instances of order emerging from chaos.

A traditional animation, hand-drawn in 500+ frames (which are also on display as part of the installation). The animation consists solely of a shoe shine: hands move a length of cloth around and across a shoe, syncopated with a minimalistic melody and lyrics written by the artist. Its swaying, repetitive quality draws the audience into a simple and elegant comparison of artistic labor, in the form of drawing, to the marginalized service economy of a global city.

This video performance showcases two works by the artist. In the first, he walks through the streets of London, trailing a wooden drumstick along a series of metal railings, producing a percussive, sometimes bell-like noise. The camera follows behind, focusing on the stick as it strikes the railings. Occasionally, it cuts to wide-angle shots, capturing the awkward and oddly humorous presence of other people. In the second work, titled "Samples II" Alÿs appears even rawer, minimal and radical. He walks around London with a drumstick in hand, creating sounds by playing the metal fences beside him, without a melody. These works are a playful example of one of Alÿs’s ‘interventions’ in the city.

Francis Alÿs is filmed by his collaborator Rafael Ortega walking along Fitzroy Square, drumming out rhythms by dragging a wooden stick on the iron railings.

The video shows the artist walking in circles around the flagpole (“Madre Patria”) in Zócalo, Mexico City’s monumental central square, which is flanked by government institutions. This work relates to a storied incident that took place during the Mexican government’s brutal oppression of the 1968 student uprising in Mexico City.

2005, 00:03:07

From the 3rd to the 5th of November 2008, 60 median strips erased by the passage of time were repainted in the former Panama Canal Zone.

64 Coldstream guards walk separately in London entering through different streets and unaware of one another’s route. Upon meeting, they fall into step and match together, looking or more guards to join up with.

The cameras follow a reel of film as it unrolls through the old part of Kabul—pushed by two children, uphill and downhill, like a hoop.

For an indeterminate period of time, the magnetized metal collector takes a daily walk through the streets and gradually builds up a coat mad of any metallic residue lying in its path. This process goes on until the collector is completely covered by its trophies.

Francis Alÿs has his own drawing painted by several different semi-professional painters.

For the 1999 Venice Biennale, Alÿs created an unofficial performance for the occasion, titled Duett. The piece begins with Alÿs entering Venice by train while fellow Belgian artist Honoré d’O landed at the airport, and each man is carrying one half of a tuba. After drifting through the labyrinth of streets, they eventually met three days later and reassembled the musical instrument. The work is emblematic of Alÿs’s exploration of estranged or misplaced halves striving for reconciliation.