post

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.

Film curator La Frances Hui attended the International Film Festival of Kerala and follows up with this discussion of the award-winning Malayalam feature Sexy Durga by Sanal Kumar Sasidharan.

Art historian Anthony Gardner reminds us to think of art historical categories as broad and flexible, and identifies exhibition histories in the former Yugoslavia, as a rich area of interest.

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.

Art historian Emilia Terracciano examines the possibility of developing and de-colonizing narrative tools for the writing of (Indian) art history.

From action painting to free-form music concerts, East German performance art establishes itself in the GDR’s final decade.

During 2016 and 2017, more than 80 scholars, artists, and curators visited MoMA as C-MAP guests. n conjunction with the 5 Questions interview series, we asked them a sixth question: How can MoMA better approach international artistic production and exchange?

Art historian April Eisman looks at art produced in the German Democratic Republic (GDR) from the context of multiple canons.