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.
Artist Gluklya (Natalya Pershina-Yakimanskaya) speaks about the importance of specific, local narratives for her work: “The experiments that I am doing… are the only reality, the only narrative that I can imagine.”
Curator Laura Hoptman comments on the importance of Raúl Lozza’s work Invention no. 150, which connects Concretism, Neo-Concretism, and Conceptual art movements.
Art historian Anna Pravdová delves deep into the MoMA Archives to highlight the Museum’s first exhibition of Czech art.
Matthew Jesse Jackson, Associate Professor of Art History at the University of Chicago and a leading expert on Soviet nonconformist art, challenges us to redefine the basic meaning of “art.”
