In the spirit of collectivity despite geographical distance, post invites your contributions to create a “collective poem” for our moment based on the 1981 project Poema Colectivo Revolución by the artists’ group Colectivo 3. The Mexico City-based group sent sheets of paper with blank space to members of an international mail art network, inviting responses to the theme of revolution. In 1981, the results were mailed back to Colectivo 3 from forty-five countries.
Today, as localities around the world are affected by the global spread of COVID-19, we welcome your contributions, thereby enacting the contemporary possibilities of international collaboration in the absence of proximity and travel.
To add your contributions in text, image, or video, please fill out the PDF below and share it with us by email firstname.lastname@example.org; mention us on twitter @postatmoma; or share on instagram with #PoemaColectivo2020 and tagging MoMA. Check back here and on social media as our international network weighs in.
Bauhaus’ active members constituted an international network that included architects and artists from several countries in Central Europe, among them the former Czechoslovakia. The Czech and Slovak connections to the Bauhaus can be studied from various perspectives, and this essay focuses on the role of print periodicals in this history.
In 2018, on the eve of the Bauhaus centenary, the exhibition BAUHAUS ↔ VKhUTEMAS: Intersecting Parallels in The Museum of Modern Art Library explored the intersecting parallels of these two sites of radical experimentation. Its selection of ephemera, publications, and correspondence highlights the extensive circulation of ideas and people between the two institutions. The video here features Anna Bokov’s presentation at a “post presents” event organized in relation to the exhibition on October 17, 2018.
The essay analyzes the resonances between the Brazilian artist Rubem Valentim and the Sudanese artist Ibrahim El-Salahi by focusing on two paintings belonging to MoMA’s collection. Deploying hybridized semiotics and different strands of painterly abstraction, the artists critically express their stance towards race, nationhood, and universal human values.
Through a close reading of Kowkülen (Liquid Being) (2020), a video piece by artist Sebastián Calfuqueo, the author delves into the work’s intricate engagement of Mapuche cosmopolitics, proposing a critical approach to the neoliberal violence of water commodification in Chile vis-à-vis nonbinary modes of inhabiting the world.
Hinged on the transversal as a means to engage with and envision new networks and ways of thinking about modern and contemporary art, the 2021 C-MAP seminar series offered an exploration and interrogation of the intertwining of multiple coeval life-worlds through concepts of “extending across.” Included here are abstracts and recordings of the four panels held on Zoom on June 2, 3, 9, and 10.
In December 1979, walking down a long road in eastern Santiago de Chile, Rosenfeld bisected the center-line markings through the perpendicular application of broad white tape. Executed at the height of a dictatorship, her defiant gesture generated a powerful new social sign: a path of crosses.