Making Waves: A Conversation with Laura Anderson Barbata
In this interview, Mexican-born, Brooklyn-based artist Laura Anderson Barbata highlights the importance of reciprocity and shared knowledge in her community-based, trans-disciplinary practice.
Constant Care for the Memory of Dissent
In an effort to consider the varied impacts of COVID-19 — a virus with a global reach — post has interviewed curators and directors from vital museums and galleries around the world about how the pandemic has affected their ideas regarding programming, civic engagement, and the role of the institution.
Cumbre Aconcagua. Part III: La memoria del agua (The Memory of Water)
This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.
Collaboration and Studio Photography: Sanlé Sory’s and Ambroise Ngaimoko’s Portraits
This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.
Cumbre Aconcagua. Part II: El Robo (Theft)
This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.
Soviet Architectural Presence in Southeast Asia
Da Hyung Jeong proposes a reading of Soviet-built structures in the region. He attempts to reveal the intentions behind their construction through an analysis of Soviet-era cultural criticism, socioeconomic studies, and encyclopedia entries.
Cumbre Aconcagua. Part I: Digna Rabia and Moral Hazard
This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.
Michael Armitage and the Ghosts of Past Picturing
The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.
Claudio Perna: The Son of the Immigrant
Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.
Horizons of queerness, auspicious sociality
Through analyses of works by David Medalla, Nick Deocampo, and Yason Banal, art historian and curator Carlos Quijon, Jr. looks beyond categorical genres of queerness, proposing instead irreducible, methodological modes that embrace its felicitous potential.
Thinking and re-thinking institutions: an interview with Clémentine Deliss and Azu Nwagbogu
In this short virtual interview, C-MAP Fellow Nancy Dantas discusses Generator—a conceptual and infrastructural proposal, hinged on restitution—envisioned by curators Azu Nwagbogu and Clémentine Déliss as part of their long-term program for the AAF, Lagos.
The Right to Appear: Alejandro Paz Navas’s The Bodyguard (2002) and the Guatemalan Postwar Art Scene
Alejandro Paz Navas’s The Bodyguard is a testament to a generation of artists who mobilized conceptual performances in public spaces to respond to the socio-economic changes in postwar Guatemala.