Asia

This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.

Despite protests and petitions from leading architects and architectural historians across the world, the Hall of Nations was surreptitiously demolished overnight on April 23-24, 2017. In this essay, Stierli bids farewell to architect Raj Rewal’s iconic building—a hallmark of modernist architecture in post-independence India.

The roundtable discussion focuses on international networks that decenter, complicate, or even bypass Western-centric models.

Film curator La Frances Hui attended the International Film Festival of Kerala and follows up with this discussion of the award-winning Malayalam feature Sexy Durga by Sanal Kumar Sasidharan.

Art historian Emilia Terracciano examines the possibility of developing and de-colonizing narrative tools for the writing of (Indian) art history.

During 2016 and 2017, more than 80 scholars, artists, and curators visited MoMA as C-MAP guests. n conjunction with the 5 Questions interview series, we asked them a sixth question: How can MoMA better approach international artistic production and exchange?

Art historian April Eisman looks at art produced in the German Democratic Republic (GDR) from the context of multiple canons.

Art historian and curator Atreyee Gupta discusses the particularity and situatedness of perspectives, and presents the national and the regional as possibly conflicting categories, challenging us to unlearn both Western and Indian art history.

After following the work of Gauri Gill for many years and meeting with her in New Delhi, curator Sarah Suzuki acquired two works from Gill’s Fields of Sight series (in collaboration with Rajesh Vangad) for The Museum of Modern Art’s collection.

Film historian and curator Ashish Rajadhyaksha discusses the need for a canon, the year 1971, cracks in the bastion of the nation(al), the belated effects of censorship, and the pluralization of globalities

“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.

Diana Campbell Betancourt, Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, interviewed Syed Jahangir, artist and founder of the Asian Art Biennale, the oldest existing biennial of contemporary art in Asia.