In his screen-prints of the 1970s, South African artist Gavin Jantjes sought to convey the urgency and interconnectedness of global Black liberation movements. As an art student in exile in Hamburg, Jantjes dedicated his early practice to raising awareness of the brutal injustices of the apartheid system in South Africa, engaging with anti-colonial struggles waged by African and African-Diasporic populations around the world. In this essay, art historian Allison K. Young looks at a selection of early abstracted, dynamic compositions which evidence his belief in the connection between art and resistance, and his commitment to solidarity between localized struggles across the diaspora.
Gaëlle Choisne shares the details and entryways to her artistic practice. This text serves as a record of Choisne’s artistic and conceptual process, and is part of the C-MAP Asia Fellow’s ongoing research about curatorial approaches to art.
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.
The first of its kind on post, this interactive commission sees artists S. Yi Yao Chao and Poklong Anading and curator Chương-Đài Võ responding to three archival collections at Asia Art Archive and, more broadly, approaches to artmaking in Southeast Asia.
Art historian Simon Soon analyzes the texts and images in Syed Sheikh Syed Ahmad al-Hadi’s two-volume novel Hikayat Faridah Hanom (The Story of Faridah Hanom), published in Penang in 1925 and 1926, which notably repurposed photographic images from magazines.
In this essay, cultural historian Linda Kaljundi revisits Estonian art of the late Soviet period. Looking at work from the 1970s and 1980s from an ecocritical and environmental perspective, she argues for the necessity of taking a comparative, transnational approach in order to reach beyond the Western centric understanding of environmental art histories.
How do you historicize the events of the dehistoricized? From its inception in 1948, the apartheid regime implemented a system of institutionalized racial segregation against the nonwhite citizens of South Africa. In recent years, a counter narrative has emerged of a group of artists and activists who viewed “culture as a weapon of struggle” against the oppressive policies of the apartheid regime.
In this interview, recorded a few months before Davidovich’s passing, curator Ana Janevski talks with the Argentine-American artist about his career, his early days in New York City and Cleveland, and his work Tape Wall Project (1970/1988), recently acquired by MoMA. This is the second of two parts. Read the first part of the interview…
What is historicized, how is it recorded, and who determines and controls these seemingly unyielding criteria? Invoking multiple media apparatuses and deriving its title from a rumor, Akram Zaatari’s Letter to a Refusing Pilot (2013) undercuts the hegemonic and umbilical ties of media and history.
Showing up in food, cosmetics, fuel, and medicine—and, by consequence, in much of the air we breathe—corn is a ubiquitous presence in our lives. Inspired by the first episode of MoMA’s Broken Nature Podcast, this text investigates how one single crop travels through our contemporary food system.
Taking as her point of departure the kiondo, and the acknowledgment of the multiple forms technology can take, this essay focuses on Wangechi Mutu’s generative re-imagination and re-inscription of the foundational figure of Eve.
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.