The exhibition Neri Oxman: Material Ecology shows the architect’s practice at the intersection of nature and computation. Her dynamic approach, though rooted in the modernist tradition, brings together material science, digital fabrication technologies, and organic design.
The performative installation made by Salvadoran American artist Guadalupe Maravilla, recently acquired by The Museum of Modern Art, offers a ritual space both for disease and healing.
In this conversation the two discuss Pilar’s artistic formation; her use of family lore and fabulation in her interventions into the silences of the state archive; and her interests in science and digital technology.
In the spirit of collectivity despite geographical distance, post invited contributions to create a “collective poem” based on the 1981 project Poema Colectivo Revolución by the artists’ group Colectivo 3.
The session explores New York as a site of intersections of artists from around the world who have passed through or settled in the city.
Made of 1200 cigarette packs, Jac Leirner’s Lung works both reflect the consumerism of which they are born but also transcend far beyond it while conjuring tropes from Minimalism, Conceptual Art, Pop Art as well as Neo-Concrete art of her native Brazil.
Addressing the history and impact of violence in Colombia, Juan Manuel Echavarría’s work does not represent violence as an abstraction but rather registers a tangible reality with a name and a face.
Amanda Williams painted eight condemned houses in and around Chicago’s Englewood neighborhood, selecting colors from the consumer products and companies marketed to the Black communities of the city’s South Side. The project highlights the ways we construct meaning from color, how these associations are inextricably linked to race and class, and how they connect to the long-standing history of public disinvestment in Black neighborhoods.
Created in 1982 by the Mexican conceptual artist Maris Bustamante, El pene como instrumento de trabajo/para quitarle a Freud lo macho (The Penis as a Work Instrument)/To Get Rid of the Macho in Freud) is an iconic work for the history of both performance art and feminist art in Mexico. By contextualizing the piece in relation to…
Composed of multiple bodies and body parts, human and animal, Cecilia Vicuña’s Pantera Negra y Yo (Black Panther and Me) doubles a painting that was destroyed and then recreated from memory. It is intimately connected with text, hinting at close connections between past, present, and future.
La cineasta argentina Lucrecia Martel dio una charla en el MoMA, invitada por el Instituto Patricia Phelps de Cisneros. La idea de esta entrevista es dejar una marca escrita de su paso por el MoMA, donde habló sobre un esquema temporal alternativo basado en el sonido.
The Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. This interview is to leave a written trace of her visit, where she spoke about an alternative, sound-based understanding of time.