This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Looking Sideways, the first panel in the seminar series featuring Sorawit Songsataya, Corina L. Apostol, and Ruth Simbao.
How do you historicize the events of the dehistoricized? From its inception in 1948, the apartheid regime implemented a system of institutionalized racial segregation against the nonwhite citizens of South Africa. In recent years, a counter narrative has emerged of a group of artists and activists who viewed “culture as a weapon of struggle” against the oppressive policies of the apartheid regime.
Taking as her point of departure the kiondo, and the acknowledgment of the multiple forms technology can take, this essay focuses on Wangechi Mutu’s generative re-imagination and re-inscription of the foundational figure of Eve.
In 2007, at age twenty-seven, having already spent several years directing and editing audiovisual programs for broadcast, Rosine Mbakam left her native Cameroon to attend film school in Belgium. Here, Mbakam reflects on her experience in a conversation with Sophie Cavoulacos, Assistant Curator in the Department of Film at The Museum of Modern Art.
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.
Refusing to fit into the mainstream art of her time, Gazbia Sirry replaced formal modernist training with local Egyptian art conventions to critically address women’s rights, patriarchy, social justice, and Western imperialism.
If landlessness is another condition that transforms Africans into wanderers, with nothing but their labor to sell for a pittance, then the genre of landscape painting in South Africa represents a space-time of possession and dispossession. Implicit in Gladys Mgudlandlu’s landscapes is a reminder of how the ownership of land has historically epitomized South African nationhood.
Inji Efflatoun fut une peintresse et une militante marxiste et féministe égyptienne. De juin 1959 à juillet 1963, elle fut emprisonnée par le régime nassérien en raison de son appartenance au parti communiste. Au cours de ces années, elle continua à peindre. Célébrés dès les années 1960, et aujourd’hui recherchés sur le marché de l’art, les tableaux de cette période sont souvent considérés comme les plus importants de son œuvre.
Celebrated as early as the 1960s, and highly sought-after on the art market today, Egyptian painter Inji Efflatoun’s production during her four years of incarceration by the Nasserite regime is often considered the highlight of her oeuvre.
On view in the David Geffen Wing until October 25, 2021, this text considers the passbook, recorded and framed by Sue Williamson, as an object that has survived to bear testimony to the presentness of the past.
This text is a shortened version of a presentation made to C-MAP Africa group in October 2020 on Mozambican modernist, Malangatana Valente Ngwenya.
This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.