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.
The ongoing COVID crisis in India has affected every aspect of daily life and every segment of Indian society. From her vantage point in Delhi, world-renowned photographer Dayanita Singh provides a first-person account of the realities of the current situation, her knowledge of its effects on her colleagues in arts communities, and indicates what and where help is most urgently needed.
Curator Heloisa Espada sheds light on Geraldo de Barros’ 1951 Fotoforma exhibition, one of the earliest exhibitions of photography in a Brazilian museum.
This essay is the first in a series of texts on the Foto Cine Club Bandeirante, a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture. The series coincides with the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946–1964, on view at the Museum of Modern Art from May 8 to September 26, 2021.
In the 1960s, Zenta Dzividzinska was one of the few women photographers in Riga whose work was highly regarded in the local and international photo club culture. Her collection of images capturing the daily life of three generations of women living in a small house in the country, have remained largely unknown until recently.
On view in the David Geffen Wing until October 25, 2021, this text considers the passbook, recorded and framed by Sue Williamson, as an object that has survived to bear testimony to the presentness of the past.
This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.
Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.
In this short virtual interview, C-MAP Fellow Nancy Dantas discusses Generator—a conceptual and infrastructural proposal, hinged on restitution—envisioned by curators Azu Nwagbogu and Clémentine Déliss as part of their long-term program for the AAF, Lagos.
In an effort to consider the variegated impacts of COVID-19—a virus with a global reach—post interviewed Zdenka Badovinac about how the pandemic has affected conceptions and practices of programming, civic engagement, and care.
James Barnor (b.1929) is a pioneering figure in Ghanaian photography. He documented the decolonizing processes and realities of the postcolonial context in Ghana, as well as the diasporic, metropolitan life in London.
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.
