2010s

The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.

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.

Artists reflect on the environmental damage caused by socialist modernization and capitalist industrialization.

Artists reflect on the intersections between historic Soviet architecture and newly built infrastructures.

The performative installation made by Salvadoran American artist Guadalupe Maravilla, recently acquired by The Museum of Modern Art, offers a ritual space both for disease and healing.

In this conversation the two discuss Pilar’s artistic formation; her use of family lore and fabulation in her interventions into the silences of the state archive; and her interests in science and digital technology.

How to raise awareness of the most recent refugee crisis in the Mediterranean in a way that does not spectacularize human suffering? Beginning with Bouchra Khalili’sThe Mapping Journey Project, this essay addresses how the present crisis has manifested as image and has made its way, across a variety of methodological and ethical approaches, into works of…

Amanda Williams painted eight condemned houses in and around Chicago’s Englewood neighborhood, selecting colors from the consumer products and companies marketed to the Black communities of the city’s South Side. The project highlights the ways we construct meaning from color, how these associations are inextricably linked to race and class, and how they connect to the long-standing history of public disinvestment in Black neighborhoods.

New York–based curator Zane Onckule (born 1982, Latvia), curator of the thesis exhibition Balticana that was on view at the Hessel Museum of Art in the spring of 2019, reflects upon geopolitical, cultural, and (visual) identity/ies across the present-day Baltics.

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.

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.