This essay concerns the “south of the south, the south of South America,” written from the north of the north, the north of North America. Drafted from a position of physical distance between author and subject, and troubled by the power dynamics of north gazing south, this selection…
Renowned Chilean critic Adriana Valdés visited the Museum in April 2015 to speak to the C-MAP Latin America group about the Chilean art scene and the work of Eugenio Dittborn. During her visit, she generously agreed to record a video interview and share her thoughts and memories of the Chilean art world before and after…
As museums move to put more geographically inclusive displays on view, a tension in emphasis–between cross-geographic correspondences and local particularities–is necessarily at stake. We convened a conversation between art historian, Alexander Alberro; curator, Doryun Chong; and museum director, Edit Sasvári, each with their own regional focus, to discuss the possibility of “the global museum,” what…
In the shadow of the Brazilian military dictatorship, Regina Silveira pursued an elusive art, by necessity and by design. Absence and isolation, illusion and distortion were not only promising artistic strategies, but also richly meaningful metaphors in an era of severe political repression. Trained as a painter and printmaker in her native Porto Alegre, Silveira…
Anna Maria Maiolino (Brazilian, born Italy, 1942) refers to Trajetória I (1976) as a “Book Object,” a term that aptly describes the way it combines aspects of a book with those of a sculpture. Although comprised of eleven folios of black, white, and red papers bound into a black paper cover, it does not include text or…
Renowned Chilean art critic, Adriana Valdés, visited MoMA to talk about the works of Eugenio Dittborn. During her visit, she not only thoroughly discussed the importance and semantic weight of Dittborn’s Airmail Paintings, but she also described the peculiarities of the Chilean art scene, one that Dittborn himself has identified as “a sort of small…
post asked the artist and critic Luis Camnitzer, one of the project directors of Global Conceptualism: Points of Origin, 1950s–1980s, to respond to some basic questions about the exhibition. In this interview he talks about how the show evolved. He also addresses how the organizers dealt with critical issues such as the differences between “Conceptual…
Rachel Weiss, curator, writer, and professor at the School of the Art Institute of Chicago, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Jane Farver (who also came to talk on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor,…
Jane Farver, curator and former Director of Exhibitions at the Queens Museum, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Rachel Weiss (who also came to present on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor, Reiko Tomii &…
David Harvey’s essay for the exhibition catalog of Uneven Growth Tactical Urbanisms for Expanding Megacities is published here on post to mark the opening of the exhibition. On the night of June 20, 2013, more than a million people in some 388 Brazilian cities took to the streets in a massive protest movement. The largest of these protests, comprising…
In this seminar Nelson Brissac reviews artists’ interventions into the city of São Paulo as part of his Arte/Cidade project, and reveals some of the issues that characterize its inhabitants’ everyday experiences and perception. Touching upon the 2014 World Cup and Brazil’s widespread urban protests, Brissac introduces extraordinary artist projects by Vito Acconci, Rubens Mano,…
In this interview, the artist Anna Bella Geiger explores the development of her production from early neo-figuration and her “visceral” works, to more experimental tendencies from the late 1960s onward. She talks about photographs taken on the subway during her time in New York City, works that engage unusual mediums such as bread bags and…
