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.
In this essay, Māra Traumane guides readers through the diverse, interdisciplinary practice of the Riga-based collective Workshop for the Restoration of Unfelt Feelings (NSRD), which operated from the end of the 1970s until 1989. NSRD was involved in the avant-garde music scene as well as in architecture, and their activities ranged from concerts and the production of record albums to performances, writing, and video art.
What is common and what differs between Georgian artist collectives of the late 1980s and those of today are among the questions explored by curator and researcher Vija Skangale in this text.
In this text focused on how postcolonial and decolonial processes are reflected in contemporary Ukrainian culture, art historian Svitlana Biedarieva examines methods of decolonizing Ukrainian cultural discourse through the lens of works by contemporary Ukrainian artists—specifically those addressing complex aspects of identity conflicts actualized by Russia’s ongoing war of aggression against Ukraine.
Madeline Murphy Turner analyzes recent artworks by the late Jaider Esbell, a pioneering artist, enabler, and advocate of Indigenous perspectives, environmentalism, and land rights.
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.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. With this text, Dr. Riánsares Lozano de la Pola provides a reflection on Politics of Position, the fourth and final panel of the seminar series with Jeannine Tang, Jaanus Samma, and Irmgard Emmelhainz.
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.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Acts of Transfer and the Repertoire, the second panel in the seminar series featuring Tsitsi Ella Jaji, Laura Anderson Barbata and Lina Lapelyte.
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