Carlito Carvalhosa, falecido em maio aos 59 anos, foi uma das figuras contemporâneas mais elogiadas da arte brasileira. Nesta homenagem ao saudoso artista, Luis Pérez-Oramas reflete sobre a sua colaboração para a exposição de 2011 no Museu de Arte Moderna Carlito Carvalhosa: Sum of Days.
Carlito Carvalhosa, quien falleció en mayo a los 59 años, fue una de las figuras más elogiadas del arte brasileño contemporáneo. En el presente homenaje al artista, Luis Pérez-Oramas reflexiona sobre su colaboración para la exposición de 2011 en el Museum of Modern Art, Carlito Carvalhosa: Sum of Days.
Carlito Carvalhosa, who died in May at the age of 59, was one of the most widely praised contemporary figures in Brazilian art. In this homage to the late artist, Luis Pérez-Oramas reflects on their collaboration for the 2011 exhibition at the Museum of Modern Art, Sum of Days.
Temptations to pronounce a politics of ecology and technology are incisively moderated in this essay on Tetsumi Kudo’s multimedia installation, presented in MoMA’s Gallery 420 through the fall, prompting a broader critical commentary on the negotiations of cultural typification and belonging in the artist’s oeuvre.
This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.
This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.
The performative installation made by Salvadoran American artist Guadalupe Maravilla, recently acquired by The Museum of Modern Art, offers a ritual space both for disease and healing.
In this conversation the two discuss Pilar’s artistic formation; her use of family lore and fabulation in her interventions into the silences of the state archive; and her interests in science and digital technology.
Following the opening event in which Xiao Lu’s shot at her own installation, Dialogue (1989), which caused the exhibition at the National Art Gallery in Beijing to close, the work has paradoxically become both iconic and obscured. Initially conceived to address gendered violence, the piece was later absorbed into the history of violence of Tiananmen…
Cara Manes on Sheela Gowda’s complex and multidisciplinary practice.
Twenty images of artworks and related materials by the Slovene group OHO from the MoMA Archives have been digitized and made accessible here.
Cuban artist Tania Bruguera uses performance as a means to interrogate relations of power and control, particularly in regards to the history of Cuba. Untitled (Havana 2000), a pivotal work in Bruguera’s career, has been recently acquired by MoMA. In this text, Elvis Fuentes discusses the importance of the piece and comments on the peculiarities of the…
