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.
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.
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…
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…
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…
Here lies a bibliography to be stepped on. It is composed of forty primarily English-language publications that take the form of exhibition catalogues, anthologies, artists’ books, and scholarly treatises. Together, these volumes give voice to and reflect on a movement with many histories, a movement propelled by artists living in New York, Eastern Europe, and…
Mexican artist Felipe Ehrenberg ruminates on the life journeys of his archive, weaving a tale that takes in personal, cultural, socioeconomic, and institutional dimensions of building—and letting go of—an artist’s file, and considering whether an archive can itself be a work of art. To most people, a file is merely a collection of objects, mostly…
Reflecting on the problematic term “Latin American Conceptualism,” Harper Montgomery’s text stems from a workshop at MoMA in which she and the C-MAP Latin America research group debated some of the issues surrounding the historicization of experimental art in Latin America. The workshop raised a number of questions that are broached below. This text was part of…
Initiated in the late 1950s in Zagreb, in the former Yugoslavia, and dissolved less than a decade later, the Gorgona Group continues to fascinate. Since the group’s first exhibition in 1977, generations of artists and art historians from Eastern Europe have viewed its ephemeral, collective artistic practices as the foundation for the later development of…
Iako raspuštena vec desetljeće nakon svog osnivanja u kasnim 50-im godinama 20. stolječa u bivšoj Jugoslaviji, grupa Gorgona još uvijek fascinira. Od njihove prve izložbe 1977. godine, generacije umjetnika i povjesničara umjetnosti iz Istočne Europe smatrali su da je kratkotrajno umjetničko djelovanje ove grupe temelj kasnijeg razvoja konceptualizma koji je u šezdesetim godinama cvjetao u…
The following are selected works and related archival materials presented by Postwar Japan Moving Image Archive. The digitization of these materials was supported by JSPS KAKENHI Grant Number 24720048. Matsumoto Toshio has made approximately eighty film and video works ranging from avant-garde documentaries, features, and experimental films to multimedia installations. He has collaborated with artists…
From Juilliard to Fluxus and traditional Japanese music, this essay, which traces the multifaceted music of Toshi Ichiyanagi, is based on a C-MAP workshop led by Yayoi Uno Everett in January 2012. [1] This presentation explores Ichiyanagi Toshi’s philosophy and aesthetics during the years 1961–64, when he was composing indeterminate music and graphic scores, and…
