Tribute and The Modernist Constellations of Bertina Lopes
C-MAP Africa fellow, Nancy Dantas, reads Mozambican modernist Bertina Lopes’s anticolonial trajectory and long-distance nationalism in ‘Tribute to Amílcar Cabral’ (1973).
Bare Bones: Mira Schendel’s Untitled (1964)
In 1964, Swiss-born Brazilian artist Mira Schendel (1919–1988) exposed the anatomy of a painting by stripping canvas from a stretcher. For this work, which she created that year while living in São Paulo, Schendel left only a few traces of canvas, which can still be found tangled in the tacks that originally fastened it to the wooden support.
Image Tectonics: A Conversation with Emilija Škarnulytė
A conversation between the artist Emilija Škarnulytė, Sophie Cavoulacos, and Valentine Umansky on two of Emilija’s upcoming projects: An Evening with Emilija Škarnulytė, streaming online as part of MoMA’s Virtual Cinema series, and a presentation at Tate Modern.
Post-Conceptual Art after Authoritarian Capitalism: Hedging and the Work of Heman Chong
In her detailed analysis of Heman Chong’s nearly two-decade-long artistic practice, art historian and curator Kathleen Ditzig contextualizes the ways in which Chong has consistently and intently negotiated with cultural policy and national politics.
The Slow Erosion: Traces, Conversations, and Politics of Position
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. With this text, Dr. Riánsares Lozano de la Pola provides a reflection on Politics of Position, the fourth and final panel of the seminar series with Jeannine Tang, Jaanus Samma, and Irmgard Emmelhainz.
El Lento Desvanecimiento: Huellas, Conversaciones y Políticas de la Localización
La serie de seminarios C-MAP de este año, Transversal Orientations, estuvo compuesta por cuatro mesas que tuvieron lugar en Zoom en junio de 2021. Con este texto, Dra. Riánsares Lozano de la Pola responde a las presentaciones y a la conversación posterior que tuvieron lugar en la cuarta y última mesa de la serie de seminarios con Jeannine Tang, Jaanus Samma, e Irmgard Emmelhainz.
The Ochre People, reimaginado
Neste ensaio, Hlonipha Mokoena oferece uma reflexão contundente e um epílogo de propensão evocatória ao terceiro painel Territórios Emaranhados, com a participação de Sandra Benites, Black Athena Collective e Chie Ikeya.
The Ochre People, Reimagined
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. In this essay, Dr. Hlonipha Mokoena provides a profound reflection and evocative epilogue to Entangled Terrains, the third panel in the seminar series featuring Sandra Benites, Black Athena Collective, and Chie Ikeya.
Transversality as a Hierarchy-Resisting Concept
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Acts of Transfer and the Repertoire, the second panel in the seminar series featuring Tsitsi Ella Jaji, Laura Anderson Barbata and Lina Lapelyte.
Portraits of Flowers
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Looking Sideways, the first panel in the seminar series featuring Sorawit Songsataya, Corina L. Apostol, and Ruth Simbao.
Culture as a Weapon of Struggle: The Art of the Medu Poster You Have Struck a Rock (1981)
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.
“I have to go back to New York. I have no choice”: Interview with Jaime Davidovich (Part 2)
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…