Global South collaborations, site specificity, public engagement, cultural mediation, translation, and the politics of the environment—these are but some of the many facets of curator Đỗ Tường Linh’s research and practice. This in-depth interview with Đỗ contributes to ongoing research and discussions about models of cultural work in Southeast Asia.
Artist and community organizer Tamarra reflects on the personal experiences, emotional complexities, socio-political events, and pilgrimages to non-binary communities across Indonesia that motivated Tamarra’s name change.
Eschewing assumptions about the absence of artistic and political agency under so-called “undemocratic” circumstances, Chaw Ei Thein and Htein Lin’s public performance Mobile Market / Mobile Gallery speaks to the prevalence—and symbiosis—of art and political action in Burma.
Da Hyung Jeong proposes a reading of Soviet-built structures in the region. He attempts to reveal the intentions behind their construction through an analysis of Soviet-era cultural criticism, socioeconomic studies, and encyclopedia entries.
Through analyses of works by David Medalla, Nick Deocampo, and Yason Banal, art historian and curator Carlos Quijon, Jr. looks beyond categorical genres of queerness, proposing instead irreducible, methodological modes that embrace its felicitous potential.
In an effort to consider the variegated impacts of COVID-19, post has interviewed curators and directors from vital institutions around the world about how the pandemic has affected their conceptions and practices of programming, civic engagement, and care.
Is the globe of globalization the same as the globe of global warming?
The panel examines historical cases of the migration of images and knowledge across cultures and temporalities.
Okamoto Tarō recollects his experiences in Paris between 1929 and 1940, discusses the Abstraction-Création movement and reflects on his time at the Sorbonne and Musée de l’Homme.
The move to diversify art historical narratives is often accompanied by a search for commonalities. Instead addressing a need to acknowledge radical difference and untranslatability, each presenter in this panel approached the question of the incommensurable, interrogating tensions between a global approach and site-specific study.
The discussion raises contemporary questions of restitution of cultural property taken during periods of colonial expansion.
This source is an English translation by Stephanie M. Hohlios of a compelling 1971 memoir-essay by Japanese artist Okamoto Tarō—“Watashi to jinruigaku: pari daigaku minzoku gakka no koro (Anthropology and I: My Time at the University of Paris Department of Ethnology)”. Okamoto’s essay “Anthropology and I” sheds light on a widely recognized but little understood…