Juan Acha highlights the role of the artistic avant-garde in the achievement of a “cultural revolution,” or the awakening of a revolutionary spirit against the values of the bourgeoisie and the socio-economic and political structures established in the Third World.
In this essay, curator Luis Pérez-Oramas considers the work of Tarsila do Amaral, the subject of the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil on view February 11 through June 3, 2018 at The Museum of Modern Art, New York.
If the Caribbean has largely been subtracted from those better-known narratives of art and artists that dominate the Atlantic world, attempts to mend this failing have often brought about mixed results. How may we come to appreciate that Caribbean experience is integral to the historical development and understanding of modern and contemporary art?
In 1968, critic and theorist Juan Acha published the text “Vanguardia y subdesarrollo.” The critical essay is available here in the original Spanish as well as translated into English for the first time.
In this interview, Catalina Acosta-Carrizosa, independent curator and former Research Assistant at the Museum of Modern Art, speaks with artist and architect Simón Hosie, the youngest architect to ever be awarded the highest prize at the Colombian Architecture Biennial in 2004.
Artists can be activists but can art be activism? C-MAP presents a forum at the Museum of Modern Art with Coco Fusco, Oleksiy Radynski, and Ram Rahman—artists who have all engaged with activist practices—who discuss relations between art and politics in Cuba, Ukraine, and India.
Through a close analysis of documents in the MoMA Archives, this essay challenges the dominant narrative about the development and internationalization of Haitian art in the 1940s.
independent curator and contemporary art researcher Santiago Rueda discusses the importance of understanding local art histories in Colombia and broader artistic developments and narratives as interrelated processes.
Experimenting with ideas of disruption, participation, community, and institutional critique, Argentine artist Marta Minujín blindfolded and “kidnapped” fifteen audience members as part of Kidnappening.
When the Brussels Expo presented the exhibition Fifty Years of Modern Art in 1958, it unintentionally pioneered a more broadly global view of modern art, although not without some friction.
Going beyond the context of modern Brazil and its experimental art scene, this essay traces a wide genealogy for his body of work, from local traditions such as samba to European intellectual figures such as Friedrich Nietzsche.
Artist, writer, and educator Lucas Ospina thoughtfully approaches the promotion of Latin American art much like, he says, any good translator who knows that certain information cannot be translated accurately.
