Translated from Serbo-Croatian into English here for the first, this interview was published in the 1969 catalog of the exhibition Milenko Matanović, David Nez, Andraž Šalamun, Tomaž Šalamun that took place at the Gallery of Contemporary Art in Zagreb.
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 first of two parts. Read the second part here. ANA JANEVSKI:…
Consulting the MoMA Archives, this essay highlights and expands upon connections between the Slovene conceptual artists OHO Group and one of the Museum’s most well-known exhibitions.
Professor Natalia Brizuela shares her thoughts on how to approach Latin American modern and contemporary artistic practices.
In late January 2016, a team of seven from The Museum of Modern Art’s C-MAP Asia Group traveled to India and Bangladesh. The itinerary began in New Delhi, where the India Art Fair was underway, continuing on to Goa and Bangalore (with side-trips to Baroda and Bombay by individual group members), and concluding in Dhaka…
Since 1960, the North Korean government has constructed many buildings, monuments, and statues in Africa. These architectural structures have been covered by the international press since 2010, when the African Renaissance Monument was inaugurated in Senegal.
Diana Campbell Betancourt shares her thoughts on Bangladesh’s art history being written out of the dominant narratives of South Asia on account of its once being East Pakistani.
ator Luis Pérez-Oramas considers the roots of the classicizing and modernist impulses in the work of Joaquín Torres-García. The essay examines a driving paradox of the artist’s work—the will to be modern while working against the grain of modernity—following episodes in his life, writings, and works.
This essay is adapted from a lecture on the strategies of dissidence in East German art by curator Christoph Tannert, who met with members of the C-MAP Central and Eastern European group on June 3, 2016 during a research trip to Berlin.
Curator Luis Pérez-Oramas considers the roots of the classicizing and modernist impulses in the work of Joaquín Torres-García. The essay examines a driving paradox of the artist’s work–the will to be modern while working against the grain of modernity–following episodes in his life, writings, and works. This is the second part of three. Torres’s first…
Ksenia Nouril, C-MAP Fellow for Central and Eastern European Art at MoMA, researched Modern art and met with contemporary artists on a recent trip to St. Petersburg, Russia, an Imperial city that weaves classical traditions with contemporary sensibilities. In 1833, Russian Romantic poet Aleksandr Pushkin described St. Petersburg as a “northern prodigy” with “granite banks”…
Cuban artist Tania Bruguera uses performance as a means to interrogate relations of power and control, particularly in regards to the history of Cuba. Untitled (Havana 2000), a pivotal work in Bruguera’s career, has been recently acquired by MoMA. In this text, Elvis Fuentes discusses the importance of the piece and comments on the peculiarities of the…
