In this interview, Belarusian curators Aleksei Borisionok and Anna Chistoserdova discuss the recent political upheavals in Belarus and their impact on the local art scene, highlighting the importance of resistance, self-organization and care, local and international networks, and archival practices.
In an effort to consider the varied impacts of COVID-19 — a virus with a global reach — post has interviewed curators and directors from vital museums and galleries around the world about how the pandemic has affected their ideas regarding programming, civic engagement, and the role of the institution.
Artists reflect on the environmental damage caused by socialist modernization and capitalist industrialization.
Artists reflect on the intersections between historic Soviet architecture and newly built infrastructures.
Artists reflect upon the role infrastructures of energy play in implementation of (geo)politics and emphasize the effects that exerts on the environment.
In an effort to consider the variegated impacts of COVID-19—a virus with a global reach—post interviewed Zdenka Badovinac about how the pandemic has affected 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.
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.
In the keynote lecture, Zdenka Badovinac introduces her concept of the “sustainable museum,” and explores possible translocal approaches to exhibition practice from the so-called periphery, nevertheless situated within the neoliberal global network of art museums and biennials.
The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.
A postcard of a lithograph by Farkas Molnár (1897–1945) is one of a series of twenty postcards printed and marketed to publicize the 1923 Bauhaus exhibition in Weimar.