Zanna Gilbert is a research specialist at the Getty Research Institute, and the co-curator of Making Art Concrete at the J. Paul Getty Museum. She completed her PhD at the School of Philosophy and Art History at the University of Essex, UK, in collaboration with Tate Research. From 2012 to 2015, Gilbert was Andrew W. Mellon postdoctoral fellow in the Department of Drawings and Prints at the Museum of Modern Art (MoMA) in New York, where she was responsible for C-MAP research focusing on modern and contemporary art in Latin America and was coeditor of the online publication post. She has curated a number of exhibitions, including Daniel Santiago: Brazil Is My Abyss (Museu de Arte Moderna Alosio Magalhães, Recife, 2010; and Museu de Arte Contemporânea de Niterói, 2012); The Unmaker of Objects: Edgardo Antonio Vigo’s Marginal Media (MoMA, 2014); and Home Archives: Paulo Bruscky and Robert Rehfeldt’s Mail Exchanges (Chert, Berlin, 2015).
2016 is the centenary of the birth of Juan Acha (1916–1995), the Peruvian-born, Mexican-naturalized Latin American art critic. Recent developments in the field of Latin American art history have led to a resurgence of interest in Acha’s critical contributions, and post here presents commissioned essays as well as primary documents translated into English for the first time.
In the fifteen years since the exhibition Global Conceptualism: Points of Origin, 1950s–1980s was on view at the Queens Museum, the term global has become ever more thoroughly entrenched in the lexicon of contemporary art. Although one might therefore draw a direct line between the 1999 exhibition and the ever-present “global contemporary” of the art world, texts by two…
In this interview, the artist Anna Bella Geiger explores the development of her production from early neo-figuration and her “visceral” works, to more experimental tendencies from the late 1960s onward. She talks about photographs taken on the subway during her time in New York City, works that engage unusual mediums such as bread bags and…
“Let’s convert all the systems into poetry and visions.” Felipe Ehrenberg, Telegraphic Work, 1970. In this text, Zanna Gilbert explores the Work Secretly titled Upwards and Onwards…whether you like it or not by the Mexican artist Felipe Ehrenberg, considering how mail art works continue to provoke even years after their inception. “Let’s convert all systems into poetry”…
Cildo Meireles discusses his series Inserções em circuitos ideológicos, Projeto Cédula (Insertions into Ideological Circuits, Banknote Project, 1970), in which he anonymously stamped banknotes with critical political slogans, demands, or questions, afterward putting them back into circulation. Created during a period of military rule in Brazil, one stamp asked, “Quem Matou Herzog?” (“Who Killed Herzog?”) after the…
“Poetry is a good way to restate the beautiful moments of our lives.” —Augusto de Campos (2012) As Hurricane Sandy struck in October 2012, legendary Brazilian poet and founder of the Concrete Poetry movement Augusto de Campos and his son, the musician Cid Campos, were holed up in a Manhattan hotel. As part of the MoMA series Modern Poets,…
