Performance

Artist and community organizer Tamarra reflects on the personal experiences, emotional complexities, socio-political events, and pilgrimages to non-binary communities across Indonesia that motivated Tamarra’s name change.

Eschewing assumptions about the absence of artistic and political agency under so-called “undemocratic” circumstances, Chaw Ei Thein and Htein Lin’s public performance Mobile Market / Mobile Gallery speaks to the prevalence—and symbiosis—of art and political action in Burma.

In this interview, Mexican-born, Brooklyn-based artist Laura Anderson Barbata highlights the importance of reciprocity and shared knowledge in her community-based, trans-disciplinary practice.

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.

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.

Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.

Through analyses of works by David Medalla, Nick Deocampo, and Yason Banal, art historian and curator Carlos Quijon, Jr. looks beyond categorical genres of queerness, proposing instead irreducible, methodological modes that embrace its felicitous potential.

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.

Song Dong’s 1996 Breathing—a work that zeroes in on the act of breathing in two charged public spaces in Beijing—speaks to art as intertwined with the practice of living, resistance as well as futility.

Created in 1982 by the Mexican conceptual artist Maris Bustamante, El pene como instrumento de trabajo/para quitarle a Freud lo macho (The Penis as a Work Instrument)/To Get Rid of the Macho in Freud) is an iconic work for the history of both performance art and feminist art in Mexico. By contextualizing the piece in relation to…

Desde finales de los noventa, la obra de Regina José Galindo se ha caracterizado por denunciar distintas formas de opresión y violencia en la sociedad contemporánea. Uno de los temas recurrentes en su trayectoria artística ha sido el de las movilizaciones migratorias y el desplazamiento de centroamericanos como resultado de las guerras civiles que tuvieron lugar en Guatemala y otros países de la región en la década de los setenta.