2010s

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.

Reuniendo múltiples testimonios y reflexiones sobre la historia y legado de la comunidad textil de Tomé, LA FÁBRICA. Trazado de una investigación es un proyecto artístico-curatorial iniciado por la artista Claudia del Fierro y la curadora Ana María Saavedra en el 2016.

Bringing together multiple testimonies and reflections related to the history and legacy of the textile community of Tomé, LA FÁBRICA. Trazado de una investigación is an artistic-curatorial project initiated by the artist Claudia del Fierro and the curator Ana María Saavedra in 2016.

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.

Cara Manes on Sheela Gowda’s complex and multidisciplinary practice.

Roxana Marcoci records her impressions of the 10th annual Berlin Biennale and offers a comparative perspective with Manifesta 12 in Palermo.

The Kochi-Muziris Biennale has produced three exhibitions since its inception in 2012, with its fourth edition opening in December 2018. This essay sites the biennale within the historical context of the twin port cities of Kochi and Muziris, as well as within the recent burgeoning of the biennial as a international format for viewing “global” art and representing local identities.

The recent documentary “Reading Architecture” (2017) explores the contemporary history of design in India across five practices in Mumbai. Sameep Padora, one of five featured architects, is the founder of Sameep Padora & Associates (sP+a), a Mumbai (India) based architecture studio. In 2016, he initiated sPare, a research arm of the studio.

This essay charts the emergence of Colombo Art Biennale and Colomboscope in Sri Lanka, based on a talk that the author gave on February 10, 2018 at the panel “Writing Recent Exhibition Histories of Large Scale Recurring Exhibitions in South Asia” at the Dhaka Art Summit (DAS).

MoMA’s C-MAP research program developed an extended focus on historical alliances such as Bandung, the Non-Aligned Movement (NAM), pan-Africanism, pan-Arabism, and other south-south, east-east, and Third World nexuses. This conversation addresses such pasts, and their reverberations in the present, as they appear in Mohaiemen’s media-based practice.