Following the opening event in which Xiao Lu’s shot at her own installation, Dialogue (1989), which caused the exhibition at the National Art Gallery in Beijing to close, the work has paradoxically become both iconic and obscured. Initially conceived to address gendered violence, the piece was later absorbed into the history of violence of Tiananmen…
Elizabeth Otto focuses on Brandt’s iconic table clock and unpacks the legendary design aesthetic that she pioneered.
Composed of multiple bodies and body parts, human and animal, Cecilia Vicuña’s Pantera Negra y Yo (Black Panther and Me) doubles a painting that was destroyed and then recreated from memory. It is intimately connected with text, hinting at close connections between past, present, and future.
New York–based curator Zane Onckule (born 1982, Latvia), curator of the thesis exhibition Balticana that was on view at the Hessel Museum of Art in the spring of 2019, reflects upon geopolitical, cultural, and (visual) identity/ies across the present-day Baltics.
As the only woman artist in the 1920s avant-garde group Devětsil and an important figure in both Czech and French Surrealism, Toyen produced a significant body of work in painting, drawing, printmaking, and collage.
Me vendndodhje në Shkodër, Shqipëri, muzeu Marubi përmban një koleksion fotografik prej më shumë se pesëqindmijë negativësh që shtrihet nga gjysma e dytë e shekullit të nëntëmbëdhjetë e deri në fundin e shekullit njëzet.
Located in Shkodra, Albania, The Marubi museum contains a collection of more than five hundred thousand negatives dating from the second half of the nineteenth century to the end of the twentieth.
En mayo de 2019 la cineasta argentina Lucrecia Martel dio una charla en el MoMA, invitada por el Instituto Patricia Phelps de Cisneros Cisneros. Ya el primer largometraje de Martel, La ciénaga (2001), llamó la atención por la contundencia de sus imágenes, la puesta en tensión con el sonido, la exposición y espacios de quiebre en las relaciones de poder partiendo del núcleo familiar, y una sensorialidad extrema y extrañada. La idea de esta entrevista es dejar una marca escrita de su paso por el MoMA, donde habló sobre un esquema temporal alternativo basado en el sonido.
In May 2019, the Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. Martel’s first feature film, La ciénaga (2001), attracted much attention because of the tension between its powerful imagery and soundscape, its exploration of power relations as rooted in the family, and an extreme and estranged sensorial quality. The idea of this interview is to leave a written trace of her visit to MoMA, where she spoke about an alternative, sound-based understanding of time.
In 1972, Argentine artist Luis Fernando Benedit installed a hydroponic greenhouse environment, containing seventy tomato plants and fifty-six lettuce plants artificially supplied with light and a chemical growth formula, as well as an environment for white mice, “consisting of a maze, food source, material for burrowing, and an enclosed area for sleeping,” at MoMA.
Shot in Rio de Janeiro’s poorest red-light district, and the city’s financial district, Neville D’Almeida’s Mangue-Bangue, presents a portrait of the “normality” of marginalized and criminalized bodies during Brazil’s military dictatorship.
100 miles away from the famous Bauhaus in Weimar, Germany, another center of utopian artistry and intellectualism opened that same year, with one key difference: all of the students at Loheland were women.
