Curator and writer Nataša Petrešin-Bachelez wants us to look at art history from both sides—the canonical and the traditionally “uncanonical” or those areas and things outside the accepted parameters of a “Western” art history.
Art historian and curator Margarita Tupitsyn analyzes Balloon, a 1977 action by the Moscow-based Collective Actions Group (CAG), which entered the MoMA Collection in 2008 as a video work.
The very first scene of the video Centro Espacial Satelital de Colombia, by the art collective La Decanatura, depicts a mother cow slowly, even lovingly, stroking with her tongue a newborn calf.
Curator Olga Kopenkina describes her curatorial practice, which moves away from grand historical narratives toward specific, national histories producing intersectionalities that she feels are missing in art history today.
Translated into English for the first time, this text by Latin American theorist Juan Acha was first presented at a conference at the Museo de Arte Moderno de Medellín in 1981 and later published as part of the conference proceedings.
Curator Anna Bitkina addresses the expanding role of the curator and art, specifically in Russia, where public space continues to be politically charged.
Film historian Ashish Rajadhyaksha discusses major moments in the study of early Indian cinema, a history that is punctuated by fires both on the screen and off the screen.
Painting 9 by Hélio Oiticica was made in 1959, at a pivotal moment for a new and quintessentially Brazilian form of modernism.
This series presents newly translated texts from the 1970s by Conceptual artists from Poland, Hungary, and Slovakia.
Art historian Anna Pravdová delves deep into the MoMA Archives to highlight the Museum’s first exhibition of Czech art.
Sarah Suzuki examines Schendel’s use of Japanese paper in the work at Objeto Gráfico (1967).
Art historian, theorist, critic, and museum activist Gustavo Buntinx, answers C-MAP’s 5 Questions, from a Peruvian and Latin American perspective, and challenges us to prevent the normalization of difference in the visual arts.
