This conversation took place via email from December 2020 to February 2021. Though participants had already been acquainted for a long time before this, they began their exchange with casual personal introductions.
Inji Efflatoun était une peintre égyptienne et une militante marxiste et féministe. De juin 1959 à juillet 1963, elle a été emprisonnée par le régime nassérien pour ses liens communistes. Pendant ce temps, elle a continué à peindre. Célébrée dès les années 1960, et très recherchée sur le marché de l’art aujourd’hui, sa production de cette période est souvent considérée comme le point culminant de son Inji Efflatoun fut une peintresse et une militante marxiste et féministe égyptienne.
Celebrated as early as the 1960s, and highly sought-after on the art market today, Egyptian painter Inji Efflatoun’s production during her four years of incarceration by the Nasserite regime is often considered the highlight of her oeuvre.
This essay looks at The Illusionist (1977), a print by Estonian artist Jüri Arrak in MoMA’s Drawings and Prints collection, and explores the larger context of the artist’s practice.
Global South collaborations, site specificity, public engagement, cultural mediation, translation, and the politics of the environment—these are but some of the many facets of curator Đỗ Tường Linh’s research and practice.
Widely distributed in recent years and now in MoMA’s collection, the two-minute video depicts Parente entering a closet and hanging up her sweater without first removing it from her body.
In the 1960s, Zenta Dzividzinska was one of the few women photographers in Riga whose work was highly regarded in the local and international photo club culture. Her collection of images capturing the daily life of three generations of women living in a small house in the country, have remained largely unknown until recently.
Artist and community organizer Tamarra reflects on the personal experiences, emotional complexities, socio-political events, and pilgrimages to non-binary communities across Indonesia that motivated Tamarra’s name change.
On view in the David Geffen Wing until October 25, 2021, this text considers the passbook, recorded and framed by Sue Williamson, as an object that has survived to bear testimony to the presentness of the past.
Eschewing assumptions about the absence of artistic and political agency under so-called “undemocratic” circumstances, Chaw Ei Thein and Htein Lin’s public performance Mobile Market / Mobile Gallery speaks to the prevalence—and symbiosis—of art and political action in Burma.
This text brings together Marisol’s sculpture Love and Frank O’Hara’s poem “Having a Coke with You” to explore their shared investigations of the personal in a capitalistic landscape, queer eroticism, global Cold War politics, and stoppered versus flowing communication.
In this interview, Belarusian curators Aleksei Borisionok and Anna Chistoserdova discuss the recent political upheavals in Belarus and their impact on the local art scene.
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