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The Best Francis Alÿs Movies. Go to The Best Shows

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For this work Alÿs purchased a gun in Mexico City then walked through the city streets with the weapon in his hand. After eleven minutes he was arrested by the police. The following day he repeated the action, this time in cooperation with the police. By presenting a record of this dramatic action alongside footage of its reenactment, Alÿs blurs the boundaries between documentation and fiction. Questioning the concept of authenticity, this work demonstrates “how media can distort and dramatize the immediate reality of a moment,” the artist has said. Gallery label from Francis Alÿs: A Story of Deception, May 8–August 1, 2011.

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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.

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"Mixing water from the Red Sea with water from the Black Sea". Trabzon, Turkey-Aqaba, Jordan, 2010.

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For more than nine hours, Francis Alÿs pushes a block of ice through the streets of Mexico City until it completely melts.

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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.

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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.

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In The Green Line, for which the axiom was ‘sometimes the political is poetic, sometimes the poetic is political’, Alÿs walks holding a punctured can of dribbling green paint along the contested width of the so-called Green Line established between Israel and its neighbours following the 1948 Arab–Israeli War. In formal terms, The Green Line is a reenactment of an earlier work, The Leak (1996), in which the artist took a can dribbling blue paint for a walk and installed the empty container in the gallery. By recontextualising The Leak in geopolitical terms, Alÿs relocates the tensions in the work from those formal ideas of action and painting to questions of maps and territories and who has the right to live where.

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