Art historian and curator Atreyee Gupta discusses the particularity and situatedness of perspectives, and presents the national and the regional as possibly conflicting categories, challenging us to unlearn both Western and Indian art history.
Over a dozen members of the C-MAP Central and Eastern European group traveled for research to Moscow in March 2017. As Roxana Marcoci, Senior Curator of Photography, notes, Russia spans eleven time zones and includes two-hundred nationalities. From this vast and deeply complex nation, the participants report on their impressions below. Reflection by Ksenia Nouril, C-MAP Central…
Curator Carolina Ponce de León discusses Colombian art history, describing how Conceptual art of the late 70s in Colombia differed from similar practices in South America.
After following the work of Gauri Gill for many years and meeting with her in New Delhi, curator Sarah Suzuki acquired two works from Gill’s Fields of Sight series (in collaboration with Rajesh Vangad) for The Museum of Modern Art’s collection.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Art historian Sara Blaylock discusses experimental practices in the German Democratic Republic (GDR) during the 1980s within a global context.
Art historian María Clara Bernal discusses the necessary work of negotiating context and difference in art history, and the importance of Conceptual art and Land art for the Colombian art scene of the 1980s onwards
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Film historian and curator Ashish Rajadhyaksha discusses the need for a canon, the year 1971, cracks in the bastion of the nation(al), the belated effects of censorship, and the pluralization of globalities
Architect and artist Simón Hosie reflects on the changing dynamics of architecture in Colombia today, focusing on qualities such as context, the human element, and sustainability.
“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.
Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.
