En este texto, la artista Maris Bustamante recuerda la importancia que tuvieron las ideas de Juan Acha para ella y para una generación de artistas jóvenes. Sostiene que el abordaje refrescante de Acha respecto de su rol de crítico redefinió la manera en la que los artistas defendían y conceptualizaban su trabajo.
Artist Maris Bustamante reminisces about the importance Juan Acha’s ideas had for her and a generation of young artists.
As the Guggenheim prepared to open its exhibition Art and China after 1989: Theater of the World on October 6, 2017, post collaborated with the Guggenheim’s Checklist blog to reflect on works by Yang Fudong and Zhang Peili, two important contemporary artists from China.
Michelle Elligott, Chief of Archives, Library, and Research Collections at MoMA, speaks with Maciej Cholewiński, Archivist at Muzeum Sztuki in Łodz (MSŁ).
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
Eda Čufer, art historian and member of the art collective Neue Slowenische Kunst (NSK), sheds light on the challenges in negotiating between canonical art histories and local specificities in Eastern Europe, specifically in the countries of former Yugoslavia.
This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.
Artist and art historian Camilo Leyva considers how the practices of artists in the 1960s opened up many paths for contemporary artists in Colombia today.
Despite protests and petitions from leading architects and architectural historians across the world, the Hall of Nations was surreptitiously demolished overnight on April 23-24, 2017. In this essay, Stierli bids farewell to architect Raj Rewal’s iconic building—a hallmark of modernist architecture in post-independence India.
Artist Bernardo Ortiz discusses questions of overarching art historical narratives and local practices and histories of the Colombia art scene, highlighting the responsibility an artist has in dealing with such constructions as they make work.
At the age of sixty-seven, Polish artist Zofia Rydet began her photographic series Sociological Record in an effort to document Polish individuals in their private and deeply personal spaces.
The roundtable discussion focuses on international networks that decenter, complicate, or even bypass Western-centric models.
