How do artists respond to political oppression, conflict, and censorship? What is the relationship of art to vehicles of social change? How can oppositional and alternative voices be assembled? Brought together here, contemporary crises—whether political, economic, or environmental, and across divergent geographic contexts—offer ways to critically rethink and reassess international trends as well as local urgencies. Enhancing an understanding of the vast landscape of struggle around the globe, while invoking heterogenous discourses, this Theme offers different forms of knowing, frequently beyond, or in direct opposition to, narratives that are in the process of being constructed—or will be in the near future.
In this text, curator and writer Nina Mdivani revisits the lives and work of Tamar Abakelia (1905–1953) and her student Natela Iankoshvili (1918–2007). She emphasizes how these two Georgian women artists navigated between undertaking state commissions and finding windows of opportunity to oppose the regime and, in the process, creates a genealogy of Georgian artistic…
From August 2022 to June 2023, artists and friends Julie Tolentino and Kang Seung Lee reflected on their decades-long practices in kinship, politics, performance, and queer history.
In relation to the Māravijaya, an occurrence in the Buddha’s life, and Letters from Panduranga, a video work by artist Nguyễn Trinh Thi, art historian Ashley Thompson discusses ideas of land, gender, and colonial history. Thompson’s essay is accompanied by a two-week screening of select clips from Nguyễn’s video work.
On the evening of October 12, 2022, post presents hosted presentations and conversations with artists, scholars, and curators about the artistic responses to the war in Ukraine, looking at the period between the Maidan Revolution, which was followed by Russia’s annexation of Crimea and occupation of Donbas in 2014, and the full-scale Russian invasion launched on February 24, 2022. This conversation is a continuation of the presentations and conversations commenced that evening.
In this essay, Veronika Molnar writes about Hungarian Roma artist Omara, whose diverse practice encompassing painting, intervention, and media appearances challenged the status quo of Hungary’s homogenous contemporary art scene from the early 2000s until the artist’s death in 2020.
This conversation between filmmaker and artist Thuy-Han Nguyen-Chi and C-MAP Asia Fellow Wong Binghao is accompanied by a two-week screening of Nguyen-Chi’s film Into The Violet Belly (2022), and a collage by designer Ghazaal Vojdani that responds to the conversation.
This essay highlights the reconstruction of memory through material culture in Ukrainian museums since the 1990s. Within the context of the Bohdan and Varvara Khanenko National Museum of Arts, the Ivan Honchar Museum, and the Maidan Museum—all of which are in Kyiv, Ukraine’s capital—cultural workers have responded to politically salient events, including Ukrainian independence, the Maidan revolution, and the current war.
What is common and what differs between Georgian artist collectives of the late 1980s and those of today are among the questions explored by curator and researcher Vija Skangale in this text.
vqueeram and Vishal Jugdeo reflect on their film Does Your House Have Lions (2021), which was screened earlier this year as part of Doc Fortnight 2022: MoMA’s Festival of International Nonfiction Film and Media.
In this text focused on how postcolonial and decolonial processes are reflected in contemporary Ukrainian culture, art historian Svitlana Biedarieva examines methods of decolonizing Ukrainian cultural discourse through the lens of works by contemporary Ukrainian artists—specifically those addressing complex aspects of identity conflicts actualized by Russia’s ongoing war of aggression against Ukraine.
Madeline Murphy Turner analyzes recent artworks by the late Jaider Esbell, a pioneering artist, enabler, and advocate of Indigenous perspectives, environmentalism, and land rights.
The program showcases moving image works by contemporary artists from Ukraine. Created between the Maidan revolution, which was followed by Crimean annexation and occupation of Donbas in 2014—and the full-scale Russian invasion launched on February 24 of this year—the works in the program take the viewer through the country’s urgencies and contradictions, the streets and fringes of its cities, and the experiences of its inhabitants.
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