Once in the XX Century, an eight-minute film by Deimantas Narkevičius shows a larger-than-life statue of Vladimir Lenin being erected in Vilnius’s main square to the cheers of a large crowd. MoMA acquired the film in 2011, and in 2013, it was included in the Museum’s Performing Histories (1), an exhibition of recent time-based art…
During the Central and Eastern Europe C-MAP group trip to Moscow in June 2015, the participants met with Ilya Budraitskis, who spoke to them about the crisis facing Russia today and its effects on art and culture. Budraitskis’ argument is presented here alongside drawings by Sveta Shuvaeva, an artist whom the C-MAP Group also met…
Since around 1977 when Gilbert and Lila Silverman began to develop their Fluxus Collection, Jon Hendricks has played a central role in fostering the formation of that renowned collection that bears their names.
Architect, astrophysicist, scholar, and Valparaiso-aficionado Ann Pendleton-Jullian talks about Chile, Chilean architecture and landscape, and the “ad hoc, ongoing work of art” that is Ciudad Abierta. Pendletton-Jullian, author of Road that Is Not a Road and the Open City, Ritoque, Chile, visited MoMA to talk to the C-MAP Latin America group about her 28+ year…
Yu Youhan (b. Shanghai, 1943) is widely considered the father of abstract painting and Political Pop in China. A longtime teacher of art in Shanghai, Yu has no wish to pursue an interdisciplinary or international practice, as many artists of his generation do. In this conversation, he talks about his life during the Cultural Revolution…
Read the english translation here.
Read the english translation here.
The name Ding Yi is associated with the cross, a symbol the artist, designer, and educator has used since the late 1980s in his investigation of abstraction. Ding’s allover painting fields are built from the manual, systematic repetition of horizontal and vertical strokes across a flat, canvas surface. Ding grew up during the Cultural Revolution,…
Did 1993 mark a watershed for “contemporary Chinese art” in the then increasingly globalized art world? In this essay Peggy Wang discusses exhibitions of contemporary Chinese art held overseas in the year 1993, notably China Avant-Garde in Berlin, China’s New Art, Post-1989 in Hong Kong, and the Venice Biennale. Analyzing various readings of works by artists such as Wang…
In this segment of the theme “Global Conceptualism Reconsidered,” the curators of the exhibition Global Conceptualism: Points of Origin, 1950s–1980s reflect upon their experiences organizing the exhibition.
Chen Zhen’s death in 2000 did not stop his art from living on, thanks to the hard work of Xu Min—Chen Zhen’s widow, who continues to organize his solo shows and also to restore his artworks. Xu was trained as an artist in Shanghai, but she has dedicated herself to supporting Chen’s art since the couple…
In this segment of the theme “Global Conceptualism Reconsidered,” the curators of the exhibition Global Conceptualism: Points of Origin, 1950s–1980s reflect upon their experiences organizing the exhibition. They address in the following interviews the origins of the exhibition’s concept, the challenges faced in defining and presenting the variety of conceptualisms across the exhibition’s many international subsections, and…
