In this 5 Questions interview, artist, writer, and educator Lucas Ospina thoughtfully approaches the promotion of Latin American art much like, he says, any good translator who knows that certain information cannot be translated accurately. Ospina recommends looking deeper at the connections between artists instead of seeing movements as broad systems. He specifically notes the relevance of the practice of drawing in Colombian art history, which is represented in the phrase “Colombia, country of draftsmen”, while signaling the need for a more thorough and detailed analysis of the works themselves.
Madeline Murphy Turner analyzes recent artworks by the late Jaider Esbell, a pioneering artist, enabler, and advocate of Indigenous perspectives, environmentalism, and land rights.
In 1964, Swiss-born Brazilian artist Mira Schendel (1919–1988) exposed the anatomy of a painting by stripping canvas from a stretcher. For this work, which she created that year while living in São Paulo, Schendel left only a few traces of canvas, which can still be found tangled in the tacks that originally fastened it to the wooden support.
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.