Born in the village of Kwali, Ladi Dosei Kwali (1925–1984), the pioneering Nigerian potter, grew up in a family in which it was the norm for women to make pots for practical use and sustenance. Although it was customary for mothers to teach this skill to their daughters, Kwali learned pottery from her aunt. She…
This two-part essay introduces the exhibition Bali, Background for War: The Human Problem of Reoccupation, an exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson at The Museum of Modern Art in 1943. Bali, Background for War was an important exhibition of Southeast Asian modern art history and occupies an exceptional place in the Museum’s institutional history. This second essay traces the wide-ranging infrastructural implications of Bateson’s exhibition from the unrealized Wartime Regional Materials Unit at MoMA to the landscape of foreign capital flows and cultural infrastructure that contributed to the canonization and conceptualization of a Southeast Asian modern art during the Cold War.
A wartime exhibition curated by anthropologist and cybernetics pioneer Gregory Bateson, Bali, Background for War opened at The Museum of Modern Art (MoMA) in late summer 1943 and then traveled to universities and museums across North America. Bali, Background for War was an anthropological exhibition of Balinese modern art and culture conceived as a technology for producing a necessary subjectivity in the American infantry and civilian administrators who would oversee the “reoccupation” of Japanese-captured territories, such as Bali. The exhibition sought to cultivate the ability to recognize cultural patterns so as to foster understanding of “those habits of thought and behavior” characteristic of a particular people.
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.
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.
As the entrepreneurial co-founder of the Société Zin, a modernist design company, Safia Farhat (Tunisian, 1924–2004), contributed to the visual aesthetics of civic space during the formative period of Tunisian socialism and state feminism. Jessica Gerschultz introduces Farhat’s key role in sustaining a mural tradition for Tunisian modernists.
In her detailed analysis of Heman Chong’s nearly two-decade-long artistic practice, art historian and curator Kathleen Ditzig contextualizes the ways in which Chong has consistently and intently negotiated with cultural policy and national politics.
Estonian artist Sirje Runge’s (born 1950) visionary 1975 thesis project conceptualizes the dynamics between the needs of the individual and the overall logic and construction of the city space in late Soviet Estonia.
The exhibition Neri Oxman: Material Ecology shows the architect’s practice at the intersection of nature and computation. Her dynamic approach, though rooted in the modernist tradition, brings together material science, digital fabrication technologies, and organic design.
Elizabeth Otto focuses on Brandt’s iconic table clock and unpacks the legendary design aesthetic that she pioneered.
American textile designer Joel Robinson remains an enigmatic figure despite his inclusion in MoMA’s collection. Robinson’s story, in many ways, mirrors the story of so many others featured in the’Good Design’ series, whose promising careers never gained the traction that such a recognition might reward.
Karl Clauss Dietel conceived a motorcycle in the GDR in 1967. As a result of its flexible design principles, it still runs today.
