Rodney McMillian’s multimedia work addresses themes of economic inequity and identity in contemporary American society.

mixrice has worked with a community of migrant workers in Maseok, an industrial area outside of Seoul, since 2002.

The grounded political art of Abdul Hay Mosallam Zarara embodies his personal commitment to the Palestinian struggle for liberation and peace.

Across the Chalk Line (2015) is a public art project in the form of a junior-sized cricket oval designed for neighbourhood children.

Abdullah Al Saadi presents a series of works produced during his SB12 commission Al Zannoba Journey (2015). This project continues previous journeys the artist has undertaken over several years and records the landscape he encounters and his experience in nature.

In her work, Haegue Yang has employed ready-made objects.

AT THE RISK OF THE REAL (2015) expands on Cinthia Marcelle’s engagement with labour, industrial production and the reciprocity between art and daily life.

Autoconstrucción, or ‘self-building’, is an ongoing body of work by Abraham Cruzvillegas that consists of structures in a constant state of construction, destruction, rebuilding and open-ended motion.

The practice of Adrián Villar Rojas is marked by large-scale, site-specific interventions that incorporate his fascinations with battling ecosystems, physical decay, unlikely rebirth and man’s interference in it all.

Among the first artists to be educated in Korea after its liberation from Japanese occupation, Chung Chang-Sup was part of a generation of artists who transformed the future of contemporary art in Korea.

Rheim Alkadhi’s new commission, Communications From the Field of Contact (Each Hair is a Tongue) (2015), attempts to provide a framework by which to contemplate new cultural intimacies.

Cyprus features a wooden boat that the artist’s father rented twenty-nine years ago in a clandestine attempt to flee Lebanon with his family.

Through painting, Etel Adnan conveys her private relationship to nature as living subject, each painting an ‘expression of an encounter’.

Fahrelnissa Zeid practice is marked by her monumental abstract works from the late 1940s–60s influenced by stained glass and mosaic design

Papy Ebotani’s Fanfare funérailles [Funeral brass] (2014) explores a new type of funerary procession that has emerged in the urban centres of the Democratic Republic of Congo.

Rheim Alkadhi’s engagement in an expansive visual practice revolves around narrative pictures, objects and social interactions.

Over the past few years, Iman Issa’s work has explored the contemporary relevance of objects, ideas and modes of communication that seemingly belong to another time.

The work of Ayreen Anastas and Rene Gabri engages questions of the human condition amid a world of increasing speed, scale, automation and accumulation by dispossession.

The Incidental Insurgents (2012–15) is a three-part installation that spatialises a contemporary search for a new political language and imaginary.

Julie Mehretu’s new body of work offers a more contemplative and pared-down response in the aftermath of that moment as she probes deeper into the visual language of abstraction.

In his practice, Lee Kit works with everyday materials such as fabric or cardboard to address ordinary daily rituals and the uses we give them.

From her earliest works, Jac Leirner has worked with found objects, ready-mades and everyday detritus.

Karesansui (2015) includes an engawa, or shaded wooden platform, which designates the ideal viewing point of the garden’s slowly expanding voids and offers a calm space of contemplation.

Jawshing Arthur Liou creates video installations that employ digital technology to transform representation and reality.

In SB12, Lala Rukh presents five bodies of work from 1993 to 2010 that demonstrate her engagement with the sea and horizon as well as her attendant philosophical preoccupations with time, infinitude and nonexistence.

In this self-choreographed solo performance, Linyekula moves, narrates and sings to original music composed by Obilo drummers and guitarist Flamme Kapaya.

In his work, Michael Joo interrogates science and technology in conversation with the history of art. His works generate a set of questions that examine the ongoing exchange between man and natural history.

Lynette Yiadom-Boakye's technique consists of a distinctive compositional approach informed by light, leading to examinations of colours and shadows that translate into cities and people

To prepare for their participation in SB12, mixrice travelled to Sharjah with one of their longtime collaborators from Bangladesh, whom they met in Maseok, an industrial community outside of Seoul.

Our Look Was as If Two Lovers, or Deadly Enemies (2015) is a three-channel video installation that juxtaposes two reading performances with more traditional documentary footage.

The practice of Adrián Villar Rojas is marked by large-scale, site-specific interventions that incorporate his fascinations with battling ecosystems, physical decay, unlikely rebirth and man’s interference in it all.

Babak Afrassiabi and Nasrin Tabatabai’s work Plate It with Silver (2015) is a video set along the northern and southern shores of the Strait of Hormuz.

Im Heung-soon’s recent work in documentary film, photography and installation has explored the impact of Korea’s modernisation through engagement with its older generations.

SB12 presents examples of Choucair’s ‘Duals’, ‘Modules’ and ‘Interforms’, works that recall the autonomous stanzas of Islamic poetry, Sufi longing for divine unity and the biological structure of matter.

Abdullah Al Saadi had the opportunity to explore Brazil during a four-month residency in South America. Inspired by the thirty-eight-metre-tall Christ the Redeemer statue that reigns over Rio de Janeiro, he made Scarecrows (2013)

Scratches on Paper (2011–14) demonstrates this technique to render sound and light in a deeply subjective way – a personal chronicle writ in bumps and depressions and left subject to the viewer’s contemplation.

Sky Blue Flag (2015) is an installation by Byron Kim placed along the Corniche of Sharjah, a site where people of many nations congregate for commerce.

Souls’ Landscapes is a three-part performance conceived and performed by Uriel Barthélémi in collaboration with Entissar Al Hamdany, Joel Lokossou, Rigo 23 and Fabrice Taraud.

Mohammed Kazem employs the same technique to scratch a series of shapes on paper that refer to the angles created when opening doors

This installation of Steel Rings represents the first sixty five kilometres of the TAPLine from its origin in Saudi Arabia.

The work of Taro Shinoda often explores humans’ relationship to nature, science and engineering. Formally trained in traditional Japanese gardening from a young age.

Byron Kim has long distilled his approach to life and art in a conceptual practice marked by studies of colour and abstraction.

Talking Wall (2015) continues Damián Ortega’s long engagement with architecture, informal construction and systems of communication

The Fourth Stage (2015) weaves a complex and unlikely union of illusion and myth between three worlds of which he is concurrently a part.

The Secession Sessions is a multipart project that investigates questions of statehood and representation through the prism of statelessness.

Leonor Antunes’s work demonstrates her interest in the social, political and philosophical dimensions of craft.

Hassan Khan examines everyday desires for happiness and the cold banality of the construct of capitalism.

Unnikrishnan’s paintings and carvings on brick record intimate scenes of life in the city and anecdotes of his relations with people and objects.

The fifteen Untitled (Buoy) works (2014) installed on the façade of Bait Obaid Al Shamsi belong to Mark Bradford’s most recent series.

untitled 2015 (Eau de RRose of Damascus) draws inspiration from a fourteenth-century model of a rosewater distillery by Al-Mizzi that Rirkrit Tiravanija encountered at the Sharjah Museum of Islamic Civilization.

Use Like Water (2015) is a nine-day performance that begins as a journey and culminates on the upper terrace of Bait Obaid Al Shamsi during the opening days of SB12.

In her practice, Asunción Molinos Gordo questions the categories that define ‘innovation’ in mainstream discourses.

Eduardo Navarro is interested in social organisation and alternative intelligence and has worked with groups of people in spaces he creates to examine means of communication and thinking.