Singing for the Absent
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.
5 Questions with Olga Kopenkina
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.
Juan Acha: Teoría y práctica no-objetualistas en América Latina / Non-Objectualist Theory and Practice in Latin America
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.
5 Questions with Anna Bitkina
Curator Anna Bitkina addresses the expanding role of the curator and art, specifically in Russia, where public space continues to be politically charged.
The Film Fragment: Survivals in Indian Silent Film
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.
Hélio Oiticica’s Painting 9
Painting 9 by Hélio Oiticica was made in 1959, at a pivotal moment for a new and quintessentially Brazilian form of modernism.
Texts by Conceptual Artists from Eastern Europe: Poland
This series presents newly translated texts from the 1970s by Conceptual artists from Poland, Hungary, and Slovakia.
Part 2: Anti-Fascist Caricatures by Adolf Hoffmeister and Antonín Pelc at MoMA in 1943
Art historian Anna Pravdová delves deep into the MoMA Archives to highlight the Museum’s first exhibition of Czech art.
Mira Schendel’s Graphic Object
Sarah Suzuki examines Schendel’s use of Japanese paper in the work at Objeto Gráfico (1967).
5 Questions with Gustavo Buntinx
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.
5 Questions with Gluklya
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.”
Raúl Lozza’s Invention no. 150
Curator Laura Hoptman comments on the importance of Raúl Lozza’s work Invention no. 150, which connects Concretism, Neo-Concretism, and Conceptual art movements.