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.
In recent years, the Brazilian artist Regina Vater (born 1943) has gained renewed attention for her contributions to Latin American and Latinx feminist art histories of performance. However, her artistic explorations of ecology and the environment are virtually unexamined. This essay considers these subjects in Vater’s work through an analysis of several site-specific, participatory events that together address ecological themes of waste and renewal.
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.
