Sacred and Agentic Landscapes in Peruvian Contemporary Indigenous Art / Paisajes sagrados y con agencia en el arte indígena contemporáneo peruano

This essay by art historian Gabriela Germana Roquez delves into the significance of landscape in the art of the Sarhua community in the Peruvian Andes and the Shipibo-Konibo people in the Amazon. Through her analysis, Germana Roquez illuminates how these artworks depict, embody, and summon the landscape, emphasizing the active role of the natural world…

Political Agony and the Legacies of Romanticism in Contemporary Art

In 1907, Oskar Kokoschka (1886­–1980) was commissioned to create an illustrated fairy tale for the children of Fritz Waerndorfer, founding member and financial supporter of the Wiener Werkstätte, Vienna’s premier design workshop. In Die träumenden Knaben (The Dreaming Boys, 1917), Kokoschka produced a haunting narrative poem about the awakening of adolescent sexuality, set on distant islands, far removed from modern city life and bourgeois society. His meticulously crafted text draws on familiar tropes from classical and contemporary literature, including works by Johann Wolfgang von Goethe and Viennese writer Peter Altenberg. While nostalgia is an essential trope of the Romantic period, Kokoschka’s work subverts this emerging canon. His work transforms what should have been a Romantic-style evocation of nostalgia and passes traditional wisdom through myth into a critical dismantling of such a gesture. The designs in the artist’s lithographs exemplify the prevalent decorative style of fin de siècle Vienna, showcasing his adept integration of various “primitivist” trends in European art. This is evident in Die träumenden Knaben’s cloisonné-like outlines, unconventional perspectives, and flat color planes.

Bali, Background for War (1943), Part II: A Proposal for Wartime Regional Materials Unit at MoMA; A Proposal for the Cultural Cold War

This two-part essay introduces the exhibition Bali, Background for War: The Human Problem of Reoccupation, an exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson at The Museum of Modern Art in 1943. Bali, Background for War was an important exhibition of Southeast Asian modern art history and occupies an exceptional place in the Museum’s institutional history. This second essay traces the wide-ranging infrastructural implications of Bateson’s exhibition from the unrealized Wartime Regional Materials Unit at MoMA to the landscape of foreign capital flows and cultural infrastructure that contributed to the canonization and conceptualization of a Southeast Asian modern art during the Cold War.

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A Woman in the World: Everlyn Nicodemus

In the mid-1980s, over the course of three years and across three continents, feminist artist Everlyn Nicodemus (born 1954, Kilimanjaro, Tanzania) gathered together women to discuss their everyday experiences. From these conversations, which took place in Skive, Denmark; Kilimanjaro, Tanzania; and Calcutta (now Kolkata), India, she produced a series of seventy-five paintings and related poems that…

Bali, Background for War (1943), Part I: A Regional Exhibition of Balinese Modern Art as a Military Technology of Worldmaking

A wartime exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson, Bali, Background for War opened at The Museum of Modern Art (MoMA) in late summer 1943 and then traveled to universities and museums across North America. Bali, Background for War was an anthropological exhibition of Balinese modern art and culture conceived as a technology for producing a necessary subjectivity in the American infantry and civilian administrators who would oversee the “reoccupation” of Japanese-captured territories, such as Bali. The exhibition sought to cultivate the ability to recognize cultural patterns so as to foster understanding of “those habits of thought and behavior” characteristic of a particular people.

Cultural Diplomacy and the Transnational Networks of the Gallery of Art of the Non-Aligned Countries “Josip Broz Tito”

The Non-Aligned Movement (NAM) was established in Belgrade, Yugoslavia, in 1961, during the peak of the Cold War, drawing inspiration from the principles of the 1955 Afro-Asian Conference in Bandung, Indonesia. Founded by developing countries opposed to formal alignment with either the United States or the Union of Soviet Socialist Republics, NAM advocated for national…

Beginning with Distraction

The prefix “para-” stages an ancillary relation: near, beside, beyond, off, away. Across the series of essays that comprise Paracuratorial Southeast Asia, we look at the “paracuratorial”: methods, sensibilities, frameworks, and practices that work within, alongside, or as supplement to exemplary curatorial frameworks such as the exhibition or the collection. The series of essays focuses…

The Cosmos and the Spiritual: A Fabric of Beliefs in the Work of Manuel de la Cruz González and Luisa González de Sáenz / El cosmos y lo espiritual: un entramado de creencias en las obras de Manuel de la Cruz González y Luisa González de Sáenz

“In cosmic beauty, there is no place for degrees or locations in time and space: Cosmic beauty is infinite. Words like pretty, ugly, tragic, funny, and useful—the abiding limits in the brief race toward death—on the other hand, are part and parcel of sensual reactions.”1Manuel de la Cruz González, “El arte como integración cósmica” [1957],…

Materiality Against the Grain: Conspiratorial Materialisms and Afro-Diasporic Arsenal / Materialidad a contrapelo: materialismo conspiratorio y arsenal afrodiaspórico

On Conspiratorial Materialisms Firearms, Molotov cocktails, flags, and banners are some of the objects in an arsenal of protests and revolts. Alongside clenched fists and enraged bodies, these objects form an imaginary of human gestures associated with the uprising. Art historian and curator Georges Didi-Huberman dedicated the exhibition Uprisings (2016–17) to this theme, assembling artworks…