Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.
The Right to Appear: Alejandro Paz Navas’s The Bodyguard (2002) and the Guatemalan Postwar Art Scene
Alejandro Paz Navas’s The Bodyguard is a testament to a generation of artists who mobilized conceptual performances in public spaces to respond to the socio-economic changes in postwar Guatemala.
The performative installation made by Salvadoran American artist Guadalupe Maravilla, recently acquired by The Museum of Modern Art, offers a ritual space both for disease and healing.
Song Dong’s 1996 Breathing—a work that zeroes in on the act of breathing in two charged public spaces in Beijing—speaks to art as intertwined with the practice of living, resistance as well as futility.
In Xu Bing’s Cropland, part of the Series of Five Repetitions (1987-88), Chinese characters double as landscape depiction, creating a liminal work that resonates between word and image, representation and abstraction.
The 1916 album War by Olga Rozanova, made in collaboration with Aleksei Kruchenykh, draws upon the visual and linguistic vocabularies of Futurism and Suprematism to explore the trauma of war.
Hamaya Hiroshi’s Composition of December 1953 becomes a marker of US occupation and the climate of post-war Japan.
Made of 1200 cigarette packs, Jac Leirner’s Lung works both reflect the consumerism of which they are born but also transcend far beyond it while conjuring tropes from Minimalism, Conceptual Art, Pop Art as well as Neo-Concrete art of her native Brazil.
Responding with imagination to the brutality and violence of Sierra Leone’s civil war (1991-2002), Abu Bakarr Mansaray’s monumental drawing Sinister Project depicts a fictitious war machine with careful detail that reveals the artist’s background in science and engineering.
A look at the history of the modern house suggests that domestic living takes shape in the intermediate, and sometimes contentious, space between the aspirations of the dweller and architect.
A postcard of a lithograph by Farkas Molnár (1897–1945) is one of a series of twenty postcards printed and marketed to publicize the 1923 Bauhaus exhibition in Weimar.
Mrinalini Mukherjee’s work does not easily fit any neat categories, whether “Post-Minimalism,” “Fiber art” or “craft.” Considering Yakshi (1984) in MoMA’s reinstalled galleries, the essay highlights the influence of her cultural background on her methods and materials.