Miguel A. López, curador y escritor, da una mirada a los textos tempranos de Juan Acha, quien se consolidó como una voz crítica y vigorosa en Perú, en tiempos en que la escena artística local estaba siendo fuertemente influenciada por las prácticas conceptualistas, los disturbios politicos y el golpe military de 1968. Read the essay…
Renowned Chilean critic Adriana Valdés talks about the Chilean art scene during the dictatorship and about the work of Eugenio Dittborn.
In the third and final part of this multi-section essay, art historian Ksenya Gurshtein addresses OHO Group’s work in the year 1970.
In this essay, art historian Rita Eder reviews, from a personal and first-hand point of view, the breadth and impact of Juan Acha’s critical contribution to Latin American art from the 1970s to the 1990s. She locates Acha’s theory of no-objetualismo (non-objectualism) within his wider production and considers his preoccupations with materiality, artistic hierarchies and the circulation…
En este ensayo, Rita Eder revisa, desde su experiencia de primera mano, el profundo impacto del legado de Juan Acha. Su contribución al arte latinoamericano de los 70s, 80s y 90s es presentada por Eder en este texto que sitúa el desarrollo de la teoría del no-objetualismo en el amplio corpus de la producción de Acha que…
2016 is the centenary of the birth of Juan Acha (1916–1995), the Peruvian-born, Mexican-naturalized Latin American art critic. Recent developments in the field of Latin American art history have led to a resurgence of interest in Acha’s critical contributions, and post here presents commissioned essays as well as primary documents translated into English for the first time.
Last year in the exhibition Scenes for a New Heritage: Contemporary Art from the
Collection, we had the opportunity to show a selection of works from The Black Star
(2007), a portfolio of twelve digital prints by Seher Shah (Pakistani, born 1975).
Though acquired in 2008, the work was exhibited for the first time in this exhibition,
in a gallery devoted to the suggestion of using the past as a means of interrogating
the present.
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.
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.
