2000s

En mayo de 2019 la cineasta argentina Lucrecia Martel dio una charla en el MoMA, invitada por el Instituto Patricia Phelps de Cisneros Cisneros. Ya el primer largometraje de Martel, La ciénaga (2001), llamó la atención por la contundencia de sus imágenes, la puesta en tensión con el sonido, la exposición y espacios de quiebre en las relaciones de poder partiendo del núcleo familiar, y una sensorialidad extrema y extrañada. La idea de esta entrevista es dejar una marca escrita de su paso por el MoMA, donde habló sobre un esquema temporal alternativo basado en el sonido.

In May 2019, the Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. Martel’s first feature film, La ciénaga (2001), attracted much attention because of the tension between its powerful imagery and soundscape, its exploration of power relations as rooted in the family, and an extreme and estranged sensorial quality. The idea of this interview is to leave a written trace of her visit to MoMA, where she spoke about an alternative, sound-based understanding of time.

Desde finales de los noventa, la obra de Regina José Galindo se ha caracterizado por denunciar distintas formas de opresión y violencia en la sociedad contemporánea. Uno de los temas recurrentes en su trayectoria artística ha sido el de las movilizaciones migratorias y el desplazamiento de centroamericanos como resultado de las guerras civiles que tuvieron lugar en Guatemala y otros países de la región en la década de los setenta.

Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her artistic career has been the migratory mobilizations and displacement of Central Americans as a result of the civil wars that took place in Guatemala and other countries of the region in the 1970s.

A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.

A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.

A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.

Cultural theorist Mieke Bal discusses her writing devoted to Nalini Malani’s Shadow Plays, multi-dimensional artworks that draw from different cinematic technologies and disparate repositories of images.

A major publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy.

A major new publication, Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology, presents key voices of this period that have been reevaluating the significance of the socialist legacy, making it an indispensable read on modern and contemporary art and theory. The following dialogue belongs to a series of conversations between artists and members of the C-MAP research group for Central and Eastern Europe at MoMA.

In this interview, Catalina Acosta-Carrizosa, independent curator and former Research Assistant at the Museum of Modern Art, speaks with artist and architect Simón Hosie, the youngest architect to ever be awarded the highest prize at the Colombian Architecture Biennial in 2004.

Diana Campbell Betancourt, Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, interviewed Syed Jahangir, artist and founder of the Asian Art Biennale, the oldest existing biennial of contemporary art in Asia.