This text was originally published under the theme “Polish Radio Experimental Studio: A Close Look”. The theme was developed in partnership with Muzeum Sztuki, Łódź (MSŁ). It was edited by Magdalena Moskalewicz, MoMA with Daniel Muzyczuk, MSŁ. The original content items in this theme can be found here. Depending on the type of recording, the whole apparatus changes like a…
Japanese artists Shigeko Kubota and Shiomi Mieko arrived in New York in 1964 at the invitation of George Maciunas. Working in sculpture, performance, and video, Kubota was active in the avant-garde art community of Tokyo in the early 1960s, and then, after her move to the U.S., among the Fluxus artists in New York. In…
Just as alchemists in the Middle Ages were the masters of arcane knowledge, so the core members of the Studio—the sound engineers—were masters of new technology in music.
The Polish Radio Experimental Studio (PRES), established in Warsaw in 1957 under the auspices of Poland’s official state broadcaster, provides a fascinating insight into the importance of a site as a key catalyst for avant-garde exploration and production.
I believe that painting ultimately still rests on a linguistic level, which enables us to make proper judgments regarding the proficiency and profundity of expression. In other words, what matters to artists is what kind of language they authentically have a feeling for and whether they have entered a desirable linguistic state….Sometimes the feeling for…
Inhabiting a space between studios that were dedicated solely to the production of autonomous works, Polish Radio Experimental Studio (PRES) occupied an interesting position that enabled it to adopt a slightly unusual modus operandi.
Curator Mauricio Marcin sketches a brief history of mail art, as told through a variety of archives in Mexico City, arguing that these remnants demand that we “keep on thinking.” This essay is an adapted and translated version of the article “Arte Correo en un Libro,” originally published in Mauricio Marcin (ed.), Artecorreo (Mexico City: Museo de…
El curador Mauricio Marcin esboza una breve historia del arte correo, a partir de diversos archivos ubicados en la Ciudad de México, argumentando que los remanentes del arte correo nos obligan a “seguir pensando”. Este ensayo es una versión adaptada y traducida del texto “Arte Correo en un Libro”, publicado originalmente en Mauricio Marcin (ed.), Artecorreo (Ciudad…
With a healthy dose of humor, the Brazilian artist Antonio Dias explores the challenges and absurdities of his artistic career and comments poetically on his life’s work. Now in his late 60s, Dias generously shares stories of his early years in Rio, Paris, and Milan; his surprise at the dearth of women in Milan’s art…
Ay-O, a Japanese artist who had been part of Fluxus in New York, returned to Japan in 1966 after an eight-year absence. He organized Happening for Sightseeing Bus Trip in Tokyo which was recorded on film and in photographs taken by some of the participants. post presents the film and selected photographs by Nishiyama Teruo, who took part in the tour.
What were the main issues at stake in Brazilian modernism? How did the necessities and demands of the national context shape the country’s modernist art practices in the twentieth-century? These questions are addressed by Tadeu Chiarelli, Director of the Museum of Contemporary Art – University of São Paulo, who surveys the major figures in Brazilian…
How did the infrastructure of the former Soviet Bloc’s socialist states support experiments in the art of sound? What possibilities were created and what were the drawbacks that resulted, for artists and their art, from the desire to create an entirely new, experimental society? This talk was delivered at “About Sound,” a C-MAP seminar on…
