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Hacer dudar de la supuesta naturaleza de las cosas: entrevista a Lucrecia Martel

En mayo de 2019 la cineasta argentina Lucrecia Martel dio una charla en el MoMA, invitada por el Instituto Patricia Phelps de Cisneros. Ya el primer largometraje de Martel, La ciénaga (2001),...
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To Cast Doubt on the Assumed Nature of Things: An Interview with Lucrecia Martel

On May 2019, the Argentine filmmaker Lucrecia Martel was invited by the Patricia Phelps de Cisneros Institute to give a lecture at MoMA. Martel’s first feature film, La ciénaga (2001), attracted a...
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The Future of Control: Luis Fernando Benedit’s Labyrinths Series

In 1972, Argentine artist Luis Fernando Benedit installed a hydroponic greenhouse environment, containing seventy tomato plants and fifty-six lettuce plants artificially supplied with light and a...
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Neville D’Almeida’s Mangue-Bangue (1971): Producing Evidence Against Oneself

Shot in 1970 in Mangue, Rio de Janeiro’s poorest red-light district, and the city’s financial district, Neville D’Almeida's Mangue-Bangue, presents a portrait of the “normality” of marginalized...
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Workshops for the New Woman: Loheland at 100

Exactly one century ago, Walter Gropius established the now famous Bauhaus in Weimar, Germany, but few know that only 100 miles away another center of utopian artistry and intellectualism opened...
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Underground Publishing in the Last Decade of East Germany

This essay is a rare glimpse into the alternative publications of East Germany in the 1980s. Through an overview of the magazines of the period, and a close reading of various images,...
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Sudhir Patwardhan in Conversation with Prajna Desai

The Indian artist Sudhir Patwardhan is chiefly a painter in the realist tradition moving between images of the city, inhabitants, and milieu. Along with bodies and buildings, his traverse charts...
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Tea Is Coffee, Coffee Is Tea: Freedom in a Closed Room

In this sardonic text, acclaimed Syrian filmmaker Ossama Mohammed bitingly describes the conditions of filmmaking under the Ba'athist regime in Syria. Under strict control of the National Film...
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A Look at the Czech and Slovak Avant-Garde within the Frame of the Bauhaus Network

2019 marks the centenary of the Bauhaus, which, during its short existence, became one of the most influential art institutions in Europe. Its active members constituted an international network...
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Subversive Embodiment in Authoritarian Times: Paz Errázuriz’s Archive of Sex and Gender Dissidence

Paz Errázuriz’s photographic oeuvre coincided with that of a group of artists working in the late 1970s and ’80s in Chile who dedicated themselves to an "aesthetic of the margins". Drawing on...
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Mechanical Reproduction from Premise to Press

In this essay, MoMA librarian Jennifer Tobias takes a recent trip to the Paper Conservation Lab as a jumping off point to explore the ins and outs of mechanical reproduction in the 1920s....
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The Unhappy Ambiguity of Clemente Padín: Politics and Polysemy in Latin American Mail Art

In this essay, Michaëla de Lacaze engages in a close reading of Happy Bicentennial (1976), one of the most radical pieces of mail art created by artist and poet Clemente Padín during the Uruguayan...
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Baltic Exile and Emigrant Communities: Hell’s Kitchen Collective in New York

In this essay, Andra Silapētere introduces two key figures of the Hell's Kitchen group of Latvian exile artists in New York. The work of the group will be featured in an exhibition this November...
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“Lily-White”: Joel Robinson and Black Identity in MoMA’s Good Design Program

American textile designer Joel Robinson remains an enigmatic figure despite his inclusion in MoMA’s collection. In 2017, a chance research encounter by the author and colleagues at a New York...
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Three Breakfasts with Indira Gandhi: Prabha Sahasrabudhe’s Reminiscences of the Children’s Art Carnival in India

This text is a reimagined transcription of a series of conversations between Prabha Sahasrabudhe and Indira Gandhi that took place in 1960 at the Westbury Hotel in New York City. At the time,...
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Empatía y complicidad en America’s Family Prison de Regina José Galindo

Desde finales de los noventa, la obra de Regina José Galindo se ha caracterizado por denunciar distintas formas de opresión y violencia en la sociedad contemporánea. Uno de los temas recurrentes...
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Empathy and Complicity in Regina José Galindo’s America’s Family Prison

Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her...
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The Subject of Nonobjective Art

One hundred years ago, Kazimir Malevich’s Suprematist Composition: White on White and Aleksandr Rodchenko’s Non-Objective Painting no. 80 (Black on Black) hung side by side in the Tenth State...
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Looking South: Lincoln Kirstein and Latin American Art

Wartime espionage, and a search for “Latin Americanness” in artistic practices, was the dual mission that sent Lincoln Kirstein to Latin America in the 1940s. This essay charts these travels in...
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Maximum Profit—Minimum Time

Raised during the socialist period of the former Yugoslavia, Irena Lagator Pejović examines two case studies of Yugoslav art and architecture that provide insights into Montenegro’s transition to...
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Subjects and Subjugation: Swahili Coast Studio Photography in Global Circulation

By the 1850s, commercial photography studios could be found all across the globe, with people in disparate locations holding similar standing poses in front of standardized backdrops. In this...
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Ewa Partum as a Cultural Producer

In this essay, Karolina Majewska-Güde explores the history of Galeria Adres, which the feminist Polish artist Ewa Partum launched in Łódź in 1972. Through unrivaled access and meticulous attention...
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Pre-Figuring Kinshasa City Dwellers in the Streets of Léopoldville: The Photography of Jean Depara

Since the 1990s, Jean Depara has become famous for his portraits of brash city dwellers, and for his hedonistic depictions of their unbridled nightlife. This essay explores how Depara’s...
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Rubem Valentim and Ibrahim El-Salahi: Strategies of Hybridization and Abstraction in the Global South

Julián Sánchez González analyzes the resonances between the Brazilian artist Rubem Valentim and the Sudanese artist Ibrahim El-Salahi by focusing on two paintings belonging to MoMA's collection....
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The History That Did Not Come to Pass: Naeem Mohaiemen in Conversation with Sarah Lookofsky

MoMA’s C-MAP research program developed an extended focus on historical alliances such as Bandung, the Non-Aligned Movement (NAM), pan-Africanism, pan-Arabism, and other south-south, east-east,...
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"Kingelez Visionnaire"

The sculptures of Congolese artist Bodys Isek Kingelez (1948-2015) offer a vision of a future modernity that is beautiful, harmonious, and functional. This essay traces the artist's career from...