From August 2022 to June 2023, artists and friends Julie Tolentino and Kang Seung Lee reflected on their decades-long practices in kinship, politics, performance, and queer history.
Balkrishna Vithaldas Doshi (1927-2023) was a pioneer of architectural modernism in India, and the first architect from the region to be awarded the Pritzker Prize in 2018. His work was prominently featured in the 2022 MoMA exhibition, The Project of Independence: Architectures of Decolonization in South Asia, 1947–1985, during which he participated in an online conversation with Martino Stierli, The Philip Johnson Chief Curator of Architecture and Design. Following Doshi’s passing at the age of 95, in January 2023, we are publishing this wide-ranging conversation accompanied by Stierli’s reflection on the architect’s life and legacy.
What happens when we cross over to the other side? In relation to the phenomenon of transshipment – the risky and at times illicit practice of transferring cargo from one ship to another – artist and poet Rindon Johnson ruminates on borders and bodies that remain in flux.
On the evening of October 12, 2022, post presents hosted presentations and conversations with artists, scholars, and curators about the artistic responses to the war in Ukraine, looking at the period between the Maidan Revolution, which was followed by Russia’s annexation of Crimea and occupation of Donbas in 2014, and the full-scale Russian invasion launched on February 24, 2022. This conversation is a continuation of the presentations and conversations commenced that evening.
Joshua Chambers-Letson extrapolates antinomies from Danh Vo’s Death Sentence, a work on paper in MoMA’s collection, in particular the coexistence of values related to life and death.
Gee Wesley writes about Sandra Mujinga’s Flo (2019). On view in MoMA’s Contemporary Collection Galleries from March 2023, Flo considers darkness and disappearance as a means of remaining illegible to technologies of surveillance and data capture.
Writer Gyula Muskovics looks at the Georgian avant-garde fashion scene from the postcommunist transition, which began in 1991, to the present. Based on interviews and rarely seen archival footage, he gives insight into Tbilisi’s avant-garde fashion circles in the 1990s with a special focus on the Avant-garde Fashion Assembly.
In this essay, Veronika Molnar writes about Hungarian Roma artist Omara, whose diverse practice encompassing painting, intervention, and media appearances challenged the status quo of Hungary’s homogenous contemporary art scene from the early 2000s until the artist’s death in 2020.
The author applies what they call “a Buddhist reading” to Rirkrit Tiravanija’s Untitled (rucksack installation), 1993, analyzing it alongside recent developments in contemporary Thai art and politics.
This conversation between filmmaker and artist Thuy-Han Nguyen-Chi and C-MAP Asia Fellow Wong Binghao is accompanied by a two-week screening of Nguyen-Chi’s film Into The Violet Belly (2022), and a collage by designer Ghazaal Vojdani that responds to the conversation.
This elegiac text, published as a postscript to C-MAP’s 2022 seminar, is one of many in which artist Daniel Lie, one of the seminar’s panelists, reflects on the non-binary nature of life and death, a crucial thematic in their artistic practice.
Neste texto elegíaco, publicado a título de posfácio ao seminário, organizado pelo C-MAP em 2022, Daniel Lie, autore e palestrante convidade, reflete sobre a natureza não binária da vida e da morte, uma temática crucial na sua prática artística.
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