Branislav Jakovljević, Claire Tancons, and Anoma Pieris consider how concepts related to self-representation and performativity not only generate sites of resistance, but also recast our perspective on established discourses of the national, ethnic, diasporic, and racial. Organized by C-MAP Fellows Meghan Forbes (for Central and Eastern Europe), Iberia Pérez (for Latin America and the Caribbean), and Prajna Desai (for Asia), this seminar in summer 2018 sought to engage such questions as: What are some of the modes by which specific collectives perform resistance to national narratives? How are artistic and spatial practices employed to perform countermodes of identity, citizenship, or belonging (to a community, diaspora, nation)? What are the challenges faced by self-fashioning practices within architectural histories? How are tensions between local art histories and national narratives interpreted through acts of resistance? Given the relevance of diasporic narratives and aesthetics in times of increasing global displacement and inequality, how can these frameworks be mobilized at our historical juncture?
Madeline Murphy Turner analyzes recent artworks by the late Jaider Esbell, a pioneering artist, enabler, and advocate of Indigenous perspectives, environmentalism, and land rights.
In 1964, Swiss-born Brazilian artist Mira Schendel (1919–1988) exposed the anatomy of a painting by stripping canvas from a stretcher. For this work, which she created that year while living in São Paulo, Schendel left only a few traces of canvas, which can still be found tangled in the tacks that originally fastened it to the wooden support.
This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. With this text, Dr. Riánsares Lozano de la Pola provides a reflection on Politics of Position, the fourth and final panel of the seminar series with Jeannine Tang, Jaanus Samma, and Irmgard Emmelhainz.