La serie de seminarios C-MAP de este año, Transversal Orientations, estuvo compuesta por cuatro mesas que tuvieron lugar en Zoom en junio de 2021. Con este texto, Dra. Riánsares Lozano de la Pola responde a las presentaciones y a la conversación posterior que tuvieron lugar en la cuarta y última mesa de la serie de seminarios con Jeannine Tang, Jaanus Samma, e Irmgard Emmelhainz.
Neste ensaio, Hlonipha Mokoena oferece uma reflexão contundente e um epílogo de propensão evocatória ao terceiro painel Territórios Emaranhados, com a participação de Sandra Benites, Black Athena Collective e Chie Ikeya.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. In this essay, Dr. Hlonipha Mokoena provides a profound reflection and evocative epilogue to Entangled Terrains, the third panel in the seminar series featuring Sandra Benites, Black Athena Collective, and Chie Ikeya.
En sus películas, la cineasta paraguaya Paz Encina combina ficción y material de archivo, imágenes condensadas y un inusual foco en el sonido, para abordar temas que atraviesan la historia de su país, como la Guerra del Chaco (1932–35), la larga dictadura de Alfredo Stroessner (1954-89), la deforestación masiva, y el desplazamiento de comunidades indígenas.
Paraguayan filmmaker Paz Encina (born 1971) combines fiction and archival material, precise imagery, and an unusual focus on sound to address issues that mark the history of her country—like the Chaco War (1932–35), the long dictatorship of Alfredo Stroessner (1954–89), massive deforestation, and the displacement of indigenous communities.
This essay revisits the starting points of the project Communicating Difficult Pasts, which was initiated in 2018 while searching for new ways to artistically and curatorially explore the twentieth-century history of the Baltic region and its ongoing impact.
Ming Wong wanders between worlds. From Chinese painting and philosophy to theatre, film, Non-Aligned histories, and the radical politics of queerness, Wong’s artistic worldview comprises a prescient pastiche of cultural possibilities.
Through a close reading of Kowkülen (Liquid Being) (2020), a video piece by artist Sebastián Calfuqueo, the author delves into the work’s intricate engagement of Mapuche cosmopolitics, proposing a critical approach to the neoliberal violence of water commodification in Chile vis-à-vis nonbinary modes of inhabiting the world.
In 2007, at age twenty-seven, having already spent several years directing and editing audiovisual programs for broadcast, Rosine Mbakam left her native Cameroon to attend film school in Belgium. Here, Mbakam reflects on her experience in a conversation with Sophie Cavoulacos, Assistant Curator in the Department of Film at The Museum of Modern Art.
Hinged on the transversal as a means to engage with and envision new networks and ways of thinking about modern and contemporary art, the 2021 C-MAP seminar series offered an exploration and interrogation of the intertwining of multiple coeval life-worlds through concepts of “extending across.” Included here are abstracts and recordings of the four panels held on Zoom on June 2, 3, 9, and 10.
In December 1979, walking down a long road in eastern Santiago de Chile, Rosenfeld bisected the center-line markings through the perpendicular application of broad white tape. Executed at the height of a dictatorship, her defiant gesture generated a powerful new social sign: a path of crosses.
Widely distributed in recent years and now in MoMA’s collection, the two-minute video depicts Parente entering a closet and hanging up her sweater without first removing it from her body.
