One Work, Many Voices

This text is a shortened version of a presentation made to C-MAP Africa group in October 2020 on Mozambican modernist, Malangatana Valente Ngwenya.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.

Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.

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 exhibition Neri Oxman: Material Ecology shows the architect’s practice at the intersection of nature and computation. Her dynamic approach, though rooted in the modernist tradition, brings together material science, digital fabrication technologies, and organic design.

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.

Achille Mbembe reflects on the global present and observes a recurring demand for durability in a planet in need of political and aesthetic repair.

Is the globe of globalization the same as the globe of global warming?