“Global” is a word that is now frequently referenced in art discourses, just as the call to include an international perspective increasingly has become an articulated goal for art history and institutions. Nevertheless, how a global approach is manifested remains contested. Contemporary and Modern Art Perspectives (C-MAP), the self-described “global” program at MoMA, focuses on examining how a global perspective might be achieved in art history and the museum.
This Theme researches notions and practices of the global by juxtaposing different situated perspectives within a related or shared thematic framework––a methodology that elucidates both actual relationships as well as chance similitudes. Scholars, artists and curators from around the world engage with issues that have been taken up internally within the C-MAP research program, underlining the importance of a plurality of viewpoints for a geographically-inclusive approach to the study and exhibition of art.
Articulations of the relational have been shifting in parallel with the recent turn in global contemporary art toward validating ecological and indigenous practices. This shift invites a consideration of what exactly constitutes the relational among artistic and curatorial efforts within the global contemporary. And among Southeast Asian exemplars, the multimedia practice of artist Araya Rasdjarmrearnsook…
What happens when we cross over to the other side? In relation to the phenomenon of transshipment – the risky and at times illicit practice of transferring cargo from one ship to another – artist and poet Rindon Johnson ruminates on borders and bodies that remain in flux.
In this text, Dorota Jagoda Michalska writes about Erna Rosenstein (1913–2004), a Jewish Polish postwar artist. Michalska opens up a transnational perspective, inviting us to look at the artist’s oeuvre through the lens of global surrealisms, connecting her articulations of Holocaust trauma with the work of artists who have dealt with slavery, genocide, exile, and colonial dispossession.
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.
Theresa Musoke (born 1944) is one of Uganda’s premier artists. Part of the earlier generation of artists trained at the Margaret Trowell School of Industrial and Fine Arts at Makerere University, author Serubiri Moses focuses on her concept of the wild and details her intellectual rebuttal of the school’s pedagogy.
This text considers the work of Vera Pagava, a Georgian artist who lived in exile in Paris, as an amalgamation of modernist and Georgian art historic references. Following Pagava’s life story from Tbilisi, where she was born, to Germany and later Paris, where she settled with her family in 1923 and lived until her death in 1988, this essay introduces her work in relation to that of various other Georgian artists, simultaneously tracing her path from figuration to abstraction.
Gaëlle Choisne shares the details and entryways to her artistic practice. This text serves as a record of Choisne’s artistic and conceptual process, and is part of the C-MAP Asia Fellow’s ongoing research about curatorial approaches to art.
The first of its kind on post, this interactive commission sees artists S. Yi Yao Chao and Poklong Anading and curator Chương-Đài Võ responding to three archival collections at Asia Art Archive and, more broadly, approaches to artmaking in Southeast Asia.
Art historian Inesa Brašiškė highlights the ideas behind the work of Lithuanian-American artist and architect Aleksandra Kasuba (1923–2019), most notably her countering of the rigid geometry of architecture through the use of soft materials and curved shapes, and her emphasis on the fundamental connection between the built environment and the formation of subject.
post interviews curators and directors from vital institutions around the world about how the COVID-19 pandemic has affected their conceptions and practices of programming, civic engagement, and care. In this interview, we speak with Gridthiya Gaweewong, Artistic Director of the Jim Thompson Art Center in Bangkok, Thailand.
Hinged on the transversal as a means to engage with and envision new networks and ways of thinking about modern and contemporary art, the 2021 C-MAP seminar series offered an exploration and interrogation of the intertwining of multiple coeval life-worlds through concepts of “extending across.” Included here are abstracts and recordings of the four panels held on Zoom on June 2, 3, 9, and 10.
Treating as insightful case studies the records of miraculous, flower-flurried advents of Mary, Mediatrix of All Grace in the Mindanao Cross, a local newspaper founded by Catholic missionaries in Cotabato City, Mindanao, in 1948, researcher and curator Renan Laru-an initiates the notion of an exhibitionary heritage, articulating this proposition through a self-created grid.
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