The Americas

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

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.

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?

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Curator Carolina Ponce de León discusses Colombian art history, describing how Conceptual art of the late 70s in Colombia differed from similar practices in South America.

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Art historian María Clara Bernal discusses the necessary work of negotiating context and difference in art history, and the importance of Conceptual art and Land art for the Colombian art scene of the 1980s onwards

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Architect and artist Simón Hosie reflects on the changing dynamics of architecture in Colombia today, focusing on qualities such as context, the human element, and sustainability.

“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.

Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.

In this 5 Questions video, art historian Gina McDaniel Tarver, a specialist in modern and contemporary Colombian art, comments on the importance of local immersion to challenge categorical thinking.