Writer Gyula Muskovics looks at the Georgian avant-garde fashion scene from the postcommunist transition, which began in 1991, to the present. Based on interviews and rarely seen archival footage, he gives insight into Tbilisi’s avant-garde fashion circles in the 1990s with a special focus on the Avant-garde Fashion Assembly.
In this essay, Veronika Molnar writes about Hungarian Roma artist Omara, whose diverse practice encompassing painting, intervention, and media appearances challenged the status quo of Hungary’s homogenous contemporary art scene from the early 2000s until the artist’s death in 2020.
The author applies what they call “a Buddhist reading” to Rirkrit Tiravanija’s Untitled (rucksack installation), 1993, analyzing it alongside recent developments in contemporary Thai art and politics.
What is common and what differs between Georgian artist collectives of the late 1980s and those of today are among the questions explored by curator and researcher Vija Skangale in this text.
vqueeram and Vishal Jugdeo reflect on their film Does Your House Have Lions (2021), which was screened earlier this year as part of Doc Fortnight 2022: MoMA’s Festival of International Nonfiction Film and Media.
In this text focused on how postcolonial and decolonial processes are reflected in contemporary Ukrainian culture, art historian Svitlana Biedarieva examines methods of decolonizing Ukrainian cultural discourse through the lens of works by contemporary Ukrainian artists—specifically those addressing complex aspects of identity conflicts actualized by Russia’s ongoing war of aggression against Ukraine.
The first of its kind on post, this interactive commission sees artists S. Yi Yao Chao and Poklong Anading and curator Chương-Đài Võ responding to three archival collections at Asia Art Archive and, more broadly, approaches to artmaking in Southeast Asia.
post interviews curators and directors from vital institutions around the world about how the COVID-19 pandemic has affected their conceptions and practices of programming, civic engagement, and care. In this interview, we speak with Gridthiya Gaweewong, Artistic Director of the Jim Thompson Art Center in Bangkok, Thailand.
Showing up in food, cosmetics, fuel, and medicine—and, by consequence, in much of the air we breathe—corn is a ubiquitous presence in our lives. Inspired by the first episode of MoMA’s Broken Nature Podcast, this text investigates how one single crop travels through our contemporary food system.
This essay brings together Baltic artists Anu Põder and Virgilijus Šonta, considering their mutual interest in human corporeality and non-heteronormative visuality to explore how their artwork reflects a disregard of official concerns of the late Soviet era, and sheds light on the blind spots of the homogenizing use of Western theoretical frameworks.
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.
Through analyses of works by David Medalla, Nick Deocampo, and Yason Banal, art historian and curator Carlos Quijon, Jr. looks beyond categorical genres of queerness, proposing instead irreducible, methodological modes that embrace its felicitous potential.
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