In her detailed analysis of Heman Chong’s nearly two-decade-long artistic practice, art historian and curator Kathleen Ditzig contextualizes the ways in which Chong has consistently and intently negotiated with cultural policy and national politics.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. With this text, Dr. Riánsares Lozano de la Pola provides a reflection on Politics of Position, the fourth and final panel of the seminar series with Jeannine Tang, Jaanus Samma, and Irmgard Emmelhainz.
La serie de seminarios C-MAP de este año, Transversal Orientations, estuvo compuesta por cuatro mesas que tuvieron lugar en Zoom en junio de 2021. Con este texto, Dra. Riánsares Lozano de la Pola responde a las presentaciones y a la conversación posterior que tuvieron lugar en la cuarta y última mesa de la serie de seminarios con Jeannine Tang, Jaanus Samma, e Irmgard Emmelhainz.
Neste ensaio, Hlonipha Mokoena oferece uma reflexão contundente e um epílogo de propensão evocatória ao terceiro painel Territórios Emaranhados, com a participação de Sandra Benites, Black Athena Collective e Chie Ikeya.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. In this essay, Dr. Hlonipha Mokoena provides a profound reflection and evocative epilogue to Entangled Terrains, the third panel in the seminar series featuring Sandra Benites, Black Athena Collective, and Chie Ikeya.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Acts of Transfer and the Repertoire, the second panel in the seminar series featuring Tsitsi Ella Jaji, Laura Anderson Barbata and Lina Lapelyte.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Looking Sideways, the first panel in the seminar series featuring Sorawit Songsataya, Corina L. Apostol, and Ruth Simbao.
How do you historicize the events of the dehistoricized? From its inception in 1948, the apartheid regime implemented a system of institutionalized racial segregation against the nonwhite citizens of South Africa. In recent years, a counter narrative has emerged of a group of artists and activists who viewed “culture as a weapon of struggle” against the oppressive policies of the apartheid regime.
En sus películas, la cineasta paraguaya Paz Encina combina ficción y material de archivo, imágenes condensadas y un inusual foco en el sonido, para abordar temas que atraviesan la historia de su país, como la Guerra del Chaco (1932–35), la larga dictadura de Alfredo Stroessner (1954-89), la deforestación masiva, y el desplazamiento de comunidades indígenas.
Paraguayan filmmaker Paz Encina (born 1971) combines fiction and archival material, precise imagery, and an unusual focus on sound to address issues that mark the history of her country—like the Chaco War (1932–35), the long dictatorship of Alfredo Stroessner (1954–89), massive deforestation, and the displacement of indigenous communities.
Collectivity, economics, gender, and spirituality converge in this meticulous reading of Philippine modern artist Anita Magsaysay-Ho’s painting, In the Marketplace. Skirting the ease of performative, atomized, or biographical takes on the subjects at hand, the writer primes instead a broader proposal for latency.
This essay revisits the starting points of the project Communicating Difficult Pasts, which was initiated in 2018 while searching for new ways to artistically and curatorially explore the twentieth-century history of the Baltic region and its ongoing impact.
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