What happens when we cross over to the other side? In relation to the phenomenon of transshipment – the risky and at times illicit practice of transferring cargo from one ship to another – artist and poet Rindon Johnson ruminates on borders and bodies, that remain in flux.
Malika Agueznay was among the first woman modernist abstract artists in Morocco. She was a student at the Casablanca École des Beaux-Arts from 1966 to 1970, during the experimental tenure of the faculty known as the Casablanca School. Shaped by the formative experience within the school, she has also distinguished herself by the ways her research emphasizes her female identity. Throughout her career, she has elaborated on seaweed as a central motif in her abstract practice. This motif is both deliberately evocative of femininity and rooted in her own female perspective.
In relation to the Māravijaya, an occurrence in the Buddha’s life, and Letters from Panduranga, a video work by artist Nguyễn Trinh Thi, art historian Ashley Thompson discusses ideas of land, gender, and colonial history. Thompson’s essay is accompanied by a two-week screening of select clips from Nguyễn’s video work.
On the evening of October 12, 2022, post presents hosted presentations and conversations with artists, scholars, and curators about the artistic responses to the war in Ukraine, looking at the period between the Maidan Revolution, which was followed by Russia’s annexation of Crimea and occupation of Donbas in 2014, and the full-scale Russian invasion launched on February 24, 2022. This conversation is a continuation of the presentations and conversations commenced that evening.
Joshua Chambers-Letson extrapolates antinomies from Danh Vo’s Death Sentence, a work on paper in MoMA’s collection, in particular the coexistence of values related to life and death.
Gee Wesley writes about Sandra Mujinga’s Flo (2019). On view in MoMA’s Contemporary Collection Galleries from March 2023, Flo considers darkness and disappearance as a means of remaining illegible to technologies of surveillance and data capture.
In this text, Dorota Jagoda Michalska writes about Erna Rosenstein (1913–2004), a Jewish Polish postwar artist. Michalska opens up a transnational perspective, inviting us to look at the artist’s oeuvre through the lens of global surrealisms, connecting her articulations of Holocaust trauma with the work of artists who have dealt with slavery, genocide, exile, and colonial dispossession.
Writer Gyula Muskovics looks at the Georgian avant-garde fashion scene from the postcommunist transition, which began in 1991, to the present. Based on interviews and rarely seen archival footage, he gives insight into Tbilisi’s avant-garde fashion circles in the 1990s with a special focus on the Avant-garde Fashion Assembly.
In this essay, Veronika Molnar writes about Hungarian Roma artist Omara, whose diverse practice encompassing painting, intervention, and media appearances challenged the status quo of Hungary’s homogenous contemporary art scene from the early 2000s until the artist’s death in 2020.
Artist and author Nene Aissatou Diallo revisits Safi Faye’s 1982 portrayal of Selbé, a thirty-nine-year-old mother of eight from Fad’jal as she and her compatriots go about their daily routines, carried by song. This feature reflects on the visual portrayal of Selbé, and Faye’s use of the camera in a documentary produced as part of the series As Women See It.
The author applies what they call “a Buddhist reading” to Rirkrit Tiravanija’s Untitled (rucksack installation), 1993, analyzing it alongside recent developments in contemporary Thai art and politics.
Theresa Musoke (born 1944) is one of Uganda’s premier artists. Part of the earlier generation of artists trained at the Margaret Trowell School of Industrial and Fine Arts at Makerere University, author Serubiri Moses focuses on her concept of the wild and details her intellectual rebuttal of the school’s pedagogy.
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