“Poetry must be made by all” – Count de Lautréamont Maurico Marcin provides a brief introduction to the Poema Colectivo: Revolución, considering its challenge to the laws of private property, the words of liberation it continues to whisper and its place in a new kind of network, here on post. A collection of 350 sheets of letter-size…
“La poesía debe ser hecha por todos” – Conde de Lautréamont Mauricio Marcin ofrece una breve introducción, aquí en post, al Poema Colectivo: Revolución, donde se le considera como oposición a las leyes de la propiedad privada a partir de las palabras libertarias que susurra y de las nuevas formas de trabajo en red que postuló. Un…
The mail art network connected hundreds of artists around the world, heralding art forms based on communication systems rather than objects. In 1981 in Mexico City, the artists’ group Colectivo 3 initiated Poema Colectivo Revolución in Mexico City in 1981 and drew upon the international mail art network, some of whose members had been exchanging artworks and…
El curador Mauricio Marcin esboza una breve historia del arte correo, a partir de diversos archivos ubicados en la Ciudad de México, argumentando que los remanentes del arte correo nos obligan a “seguir pensando”. Este ensayo es una versión adaptada y traducida del texto “Arte Correo en un Libro”, publicado originalmente en Mauricio Marcin (ed.), Artecorreo (Ciudad…
Published two years before the Poema Colectivo Revolución, these texts give an impression of the landscape of the Mexican cultural scene in the late 1970s and early 1980s. They appeared in the cultural supplement Testimonios de Latinoamérica, which accompanied the eponymous exhibition at the Carrillo Gil Museum in Mexico City from September 19, 1978. Five years earlier,…
With a healthy dose of humor, the Brazilian artist Antonio Dias explores the challenges and absurdities of his artistic career and comments poetically on his life’s work. Now in his late 60s, Dias generously shares stories of his early years in Rio, Paris, and Milan; his surprise at the dearth of women in Milan’s art…
Cildo Meireles discusses his series Inserções em circuitos ideológicos, Projeto Cédula (Insertions into Ideological Circuits, Banknote Project, 1970), in which he anonymously stamped banknotes with critical political slogans, demands, or questions, afterward putting them back into circulation. Created during a period of military rule in Brazil, one stamp asked, “Quem Matou Herzog?” (“Who Killed Herzog?”) after the…
What were the main issues at stake in Brazilian modernism? How did the necessities and demands of the national context shape the country’s modernist art practices in the twentieth-century? These questions are addressed by Tadeu Chiarelli, Director of the Museum of Contemporary Art – University of São Paulo, who surveys the major figures in Brazilian…
Ana Longoni delivered these reflections as a response during the yearly C-MAP Seminar that took place at The Museum of Modern Art in April 2013. Entitled “Global Networks,” this two-day-long meeting of members of the three geographically oriented C-MAP research groups and guests focused on self-critically addressing C-MAP’s mission to build a more global program for MoMA’s…
The research project C-MAP (Contemporary and Modern Art Perspectives) is built upon research that happens both within and outside MoMA. In November 2012, a group of curators, educators, and editorial staff from MoMA spent ten days in Brazil. All through the preceding year, the C-MAP Latin America group had attended lectures, roundtables, and seminars on twentieth-century art…
Mexican artist Felipe Ehrenberg ruminates on the life journeys of his archive, weaving a tale that takes in personal, cultural, socioeconomic, and institutional dimensions of building—and letting go of—an artist’s file, and considering whether an archive can itself be a work of art. To most people, a file is merely a collection of objects, mostly…
Reflecting on the problematic term “Latin American Conceptualism,” Harper Montgomery’s text stems from a workshop at MoMA in which she and the C-MAP Latin America research group debated some of the issues surrounding the historicization of experimental art in Latin America. The workshop raised a number of questions that are broached below. This text was part of…
