This year’s C-MAP seminar series, Transversal Orientations, comprised four panels that took place on Zoom in June 2021. This essay reflects on Looking Sideways, the first panel in the seminar series featuring Sorawit Songsataya, Corina L. Apostol, and Ruth Simbao.
How do you historicize the events of the dehistoricized? From its inception in 1948, the apartheid regime implemented a system of institutionalized racial segregation against the nonwhite citizens of South Africa. In recent years, a counter narrative has emerged of a group of artists and activists who viewed “culture as a weapon of struggle” against the oppressive policies of the apartheid regime.
En sus películas, la cineasta paraguaya Paz Encina combina ficción y material de archivo, imágenes condensadas y un inusual foco en el sonido, para abordar temas que atraviesan la historia de su país, como la Guerra del Chaco (1932–35), la larga dictadura de Alfredo Stroessner (1954-89), la deforestación masiva, y el desplazamiento de comunidades indígenas.
Paraguayan filmmaker Paz Encina (born 1971) combines fiction and archival material, precise imagery, and an unusual focus on sound to address issues that mark the history of her country—like the Chaco War (1932–35), the long dictatorship of Alfredo Stroessner (1954–89), massive deforestation, and the displacement of indigenous communities.
Published to coincide with Fotoclubismo: Brazilian Modernist Photography, 1946–1964 at MoMA, art historian Adele Nelson analyzes the Sala de Fotografia, a last-minute, “in-between” and hitherto unexamined exhibition organized by Foto-Cine Clube Bandeirante for the second edition of the São Paulo Bienal.
What is historicized, how is it recorded, and who determines and controls these seemingly unyielding criteria? Invoking multiple media apparatuses and deriving its title from a rumor, Akram Zaatari’s Letter to a Refusing Pilot (2013) undercuts the hegemonic and umbilical ties of media and history.
Showing up in food, cosmetics, fuel, and medicine—and, by consequence, in much of the air we breathe—corn is a ubiquitous presence in our lives. Inspired by the first episode of MoMA’s Broken Nature Podcast, this text investigates how one single crop travels through our contemporary food system.
Taking as her point of departure the kiondo, and the acknowledgment of the multiple forms technology can take, this essay focuses on Wangechi Mutu’s generative re-imagination and re-inscription of the foundational figure of Eve.
In 2007, at age twenty-seven, having already spent several years directing and editing audiovisual programs for broadcast, Rosine Mbakam left her native Cameroon to attend film school in Belgium. Here, Mbakam reflects on her experience in a conversation with Sophie Cavoulacos, Assistant Curator in the Department of Film at The Museum of Modern Art.
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.
The ongoing COVID crisis in India has affected every aspect of daily life and every segment of Indian society. From her vantage point in Delhi, world-renowned photographer Dayanita Singh provides a first-person account of the realities of the current situation, her knowledge of its effects on her colleagues in arts communities, and indicates what and where help is most urgently needed.
Disruption and Displacement: Lotty Rosenfeld’s Una milla de cruces sobre el pavimento and Its Afterlife in Pinochet’s Chile
In December 1979, walking down a long road in eastern Santiago de Chile, Rosenfeld bisected the center-line markings through the perpendicular application of broad white tape. Executed at the height of a dictatorship, her defiant gesture generated a powerful new social sign: a path of crosses.