How do art history and museum practice deal with international networks that decenter, complicate, or even bypass Western-centric geopolitical discourses of art history? This theme considers the relationship of historical precedents—such as the Non-Aligned Movement, Third Worldism, pan-Africanism, pan-Arabism, and related discourses of the Global South—to artistic production and circulation. While conventional markers of time, like 1945, 1968, and 1989, hold prominence in artistic and world history, new dates became of key interest to our research. 1955, the year of the Afro-Asian Conference at Bandung, is an important moment to consider in relation to artistic trajectories, just as 1961, the year of the Non-Aligned Movement Conference in Belgrade, is another preeminent historical example of an alternate nexus of connections of relevance to art of the period.
This theme departs from a 2016–17 C-MAP research focus on non-aligned networks, which was conceived as the Museum prepared for an extensive re-presentation of the permanent collection with the opening of new gallery space in 2019. Activities outside the Museum also provided fodder for our discussions. For example, Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 to March 2017, illustrated possible avenues for complicating hegemonic histories of modern art. Across groups, C-MAP participants read broadly, invited speakers to the museum, and hosted internal workshops and seminars. Since then, the Theme was expanded to include other transgeographic and translocal connectivities, including connections that route through Western cosmopolitan centers, in turn revealing histories that are commonly left out of its dominant, westerncentric narratives.
The Non-Aligned Movement (NAM) was established in Belgrade, Yugoslavia, in 1961, during the peak of the Cold War, drawing inspiration from the principles of the 1955 Afro-Asian Conference in Bandung, Indonesia. Founded by developing countries opposed to formal alignment with either the United States or the Union of Soviet Socialist Republics, NAM advocated for national…
These presentations and panel discussion at MoMA brought together four filmmakers and artists who work in expanded documentary modes, using existing footage, archival research, interviews, and scripted narratives to produce imaginative accounts of transnational struggles, solidarities, and interventions. Using moving images, some of these practitioners interrogate the anti-colonial and anti-imperialist movements of the mid-late 20th…
This essay by feminist scholar and art curator Jana Kukaine explores the work of Latvian artist Daina Dagnija, who lived in exile in the United States after fleeing the Soviet occupation in 1944. While threading questions of migration and exile; memory, loss and belonging; and womanhood and mothering, Dagnija’s practice remains grounded in Baltic history,…
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…
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.
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.
In his screen-prints of the 1970s, South African artist Gavin Jantjes sought to convey the urgency and interconnectedness of global Black liberation movements. As an art student in exile in Hamburg, Jantjes dedicated his early practice to raising awareness of the brutal injustices of the apartheid system in South Africa, engaging with anti-colonial struggles waged by African and African-Diasporic populations around the world. In this essay, art historian Allison K. Young looks at a selection of early abstracted, dynamic compositions which evidence his belief in the connection between art and resistance, and his commitment to solidarity between localized struggles across the diaspora.
This elegiac text, published as a postscript to C-MAP’s 2022 seminar, is one of many in which artist Daniel Lie, one of the seminar’s panelists, reflects on the non-binary nature of life and death, a crucial thematic in their artistic practice.
Neste texto elegíaco, publicado a título de posfácio ao seminário, organizado pelo C-MAP em 2022, Daniel Lie, autore e palestrante convidade, reflete sobre a natureza não binária da vida e da morte, uma temática crucial na sua prática artística.
The 2022 C-MAP seminar series, Transversal Orientations Part II, was held on Zoom across four panels on May 25 and 26, 2022. This text by Irmgard Emmelhainz, independent translator, writer and researcher, is the second written response to the seminar.
Sarah Lookofsky, former Associate Director of the International program at MoMA, rumintes on the presentations and conversations held on Day One of the 2022 C-MAP seminar. Lookofsky calls out the contradictions of art’s embeddedness with various ecologies, rehearsing her own writing-thinking as produced by a “dumpy dialectic.”
The 2022 C-MAP seminar series, Transversal Orientations Part II, was held on Zoom across four panels on May 25 and 26, 2022. Included here are abstracts and recordings of the panels. The seminar series was organized by Nancy Dantas, C-MAP Africa Fellow; Inga Lāce, C-MAP Central and Eastern Europe Fellow; Madeline Murphy Turner, Former Cisneros Institute Research Fellow for Latin America, and Wong Binghao, C-MAP Asia Fellow.
