Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her artistic career has been the migratory mobilizations and displacement of Central Americans as a result of the civil wars that took place in Guatemala and other countries of the region in the 1970s.
Wartime espionage, and a search for “Latin Americanness” in artistic practices, was the dual mission that sent Lincoln Kirstein to Latin America in the 1940s. This essay charts these travels in relation to shifting currents in artistic languages and geopolitics—and their part in shaping MoMA’s early collection of art from Latin America.
Branislav Jakovljević, Claire Tancons, and Anoma Pieris consider how concepts related to self-representation and performativity not only generate sites of resistance, but also recast our perspective on established discourses of the national, ethnic, diasporic, and racial.
Reuniendo múltiples testimonios y reflexiones sobre la historia y legado de la comunidad textil de Tomé, LA FÁBRICA. Trazado de una investigación es un proyecto artístico-curatorial iniciado por la artista Claudia del Fierro y la curadora Ana María Saavedra en el 2016.
Bringing together multiple testimonies and reflections related to the history and legacy of the textile community of Tomé, LA FÁBRICA. Trazado de una investigación is an artistic-curatorial project initiated by the artist Claudia del Fierro and the curator Ana María Saavedra in 2016.
The essay analyzes the resonances between the Brazilian artist Rubem Valentim and the Sudanese artist Ibrahim El-Salahi by focusing on two paintings belonging to MoMA’s collection. Deploying hybridized semiotics and different strands of painterly abstraction, the artists critically express their stance towards race, nationhood, and universal human values.
Fernando Bruno analiza la relación entre pintura y escritura en la obra de la artista argentina Mirtha Dermisache a finales de los sesenta y setenta, examinando el modo particular en que ésta se articula con algunas tendencias del arte argentino de la época.
Fernando Bruno analyzes the particular relationship between painting and writing in the work of Argentine artist Mirtha Dermisache, examining the specific ways in which it contrasts with some of the most significant artistic tendencies at the end of the sixties and seventies in Argentina.
Sarah Meister explores photography’s capacity to represent temporal dislocations.
How does art history deal with the radical diversity of objects it encompasses?
Karen Grimson comments on the inaccessibility of national archives in Cuba and questions art’s ability to contest censorship and battle the state of “disinformation” that has afflicted Cuban society for decades.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. The third and final section of this essay connects the sculptural nature of Clark’s paintings and the human body’s activation in her later works.
