Rajyashri Goody (b. 1990) queries food and water politics, Ambedkarite Buddhist practices, literacy and Dalit literature, and mobility and place-making in the context of caste-based violence and Dalit resistance in India. She works primarily with paper pulp, clay, text, photography, and printmaking. What follows is an abbreviated account of Goody’s session with the C-MAP Bombay/Mumbai Group.…
Bagus Pandega assembles various electronic components, musical instruments, found objects, and 3-D-printed custom parts and software into artworks that combine and generate kinetic, acoustic, and light elements in a modular way: Each of the constituent components can be replaced, modified, or exchanged to form another iteration. Despite the technical marvel of his installations, Pandega’s approach to artistic practice remains fundamentally DIY—an artistic ethos that intentionally bypasses industrial standards. Pandega has adopted this “maker” mentality—rooted in Indonesia’s 1990s media landscape—to reexamine the collision between society and nature, as seen in The Diasporic Mythology.
Two white shirts and a black top. One long-sleeve, two short-sleeve. Two bald heads and a crowned shrub of twists. Relaxed wrists and palms caressing a near-empty wine glass, some hands submerged in pockets, and another gently placed on a hip. Pressed cotton, embroidered lace. A ring, a watch, a necklace. Three radiant gazes. Mbulelo…
C-MAP Africa in Morocco: Reflections from the 2026 Research Trip From February 5 to 11, 2026, members of the C-MAP Africa group from The Museum of Modern Art traveled to Morocco on a research trip that included several cities: Marrakech, Casablanca, Rabat, Tangier, and Tétouan. Over the course of the visit, the group met with…
In recent years, the practice of the Jakarta-based collective ruangrupa has gained exceptional traction in the contemporary art world. The book How to Pin Down Smoke: ruangrupa since 2000, published in 2025 maps out the genealogy of the animated and complex ecosystem that ruangrupa has cultivated and which has shaped the trajectory of the group’s practice. Carlos Quijon, Jr talks to the volume’s editors to discuss their editorial processes and considerations.
Maya Varma: To begin, I wanted to talk about where you come from. How has Mumbai shaped you as an activist and as an artist? What did the city mean to you growing up? Shrujana Niranjani Shridhar: For me, Mumbai has always been a working-class city. That’s its defining character. Any city that grows because people come…
South Africa’s official record marks 1991 as a significant moment in the nation’s transition from the racially segregated regime of apartheid to a democratic government. Amid political unrest, massacres, and a state of emergency, the year is remembered in mainstream history as the beginning of multiparty negotiations—between the minority National Party, the recently unbanned African…
Beyond formal schooling, Hanoi Children’s Palace extended socialist cultivation into leisure time, reverie, artistic endeavors, and sports training. More than simply school routine, rituals were designed to develop the body and mind of the “new socialist human,” laying the foundation for building socialism in post-independence Vietnam. Taking the ideological history, architecture, and uncertain future of the Children’s Palace as a point of departure within the city’s broader projection of the creative industries as a strategic force, the project sought to examine how the institution’s pedagogical inheritance persists within the textures of everyday life and socialist memory.
In looking at photographs of live models, plaster casts of Greek sculptures, and students on the website (figs. 1a and 1b) of the Sir J. J. School of Art (JJ) in Bombay (present-day Mumbai), one notices how the condition of the body and labor in relation to art is a haunting presence in 20th-century photography. Shot between the…
Evelyn Ashamallah (born 1948) presides over history from her small apartment in Talaat Harb in downtown Cairo. Across the past six decades, she has demonstrated a legacy of constant negotiation…
Sharon Chin is an artist and activist based in Port Dickson, Malaysia. Chin talks about how she has learned to cultivate a productive relationship between these two pursuits across two decades. The artist shares her thoughts about the locations and locutions of the political in her work.
This interview with the sibling duo behind Bombay Duck Designs explores their omnivorous curiosity for the diversity of visual cultures in India and suggests that an embrace of what may, on the surface, seem chaotic reveals opportunities for understanding and connection. Paul Galloway: An aspect of your work that intrigues me is that it is steeped…
