Art historian María Clara Bernal discusses the necessary work of negotiating context and difference in art history, and the importance of Conceptual art and Land art for the Colombian art scene of the 1980s onwards
Film historian and curator Ashish Rajadhyaksha discusses the need for a canon, the year 1971, cracks in the bastion of the nation(al), the belated effects of censorship, and the pluralization of globalities
Architect and artist Simón Hosie reflects on the changing dynamics of architecture in Colombia today, focusing on qualities such as context, the human element, and sustainability.
“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.
Art historian Sarah James considers art produced in the German Democratic Republic (GDR), reflecting on its circulation in both international and local contexts.
In this 5 Questions video, art historian Gina McDaniel Tarver, a specialist in modern and contemporary Colombian art, comments on the importance of local immersion to challenge categorical thinking.
Art historian Ana María Reyes discusses the importance of reception and institutional framing in understanding works of art and identifies key moments of Colombian art history.
Karin Zitzewitz discusses significant impulses and influences on art production in South Asia, between the artists’ immediate context and practices or discourses of feminism and globalization, which have dominated since the 1980s.
Historian Mary Roldán speaks to 20th century Colombian social and political history and argues against imposing a false historical isolation on Colombia as well as addressing areas of scholarship that need further research.
Throughout 2016, the C-MAP Latin America Group focused on the study and research of Colombian modern and contemporary artistic practices. The group held more than twenty meetings where scholars, artists, and curators were invited to present their work and talk about the historical, political, and social conditions that have shaped modern and contemporary art scene…
Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 – March 2017, presents the period and its art as already global, multi-faceted, and modern.
Curator and writer Nataša Petrešin-Bachelez wants us to look at art history from both sides—the canonical and the traditionally “uncanonical” or those areas and things outside the accepted parameters of a “Western” art history.
