Lena Bader reports on “Plural Temporalities: Theories and Practices of Time,” the fourth Transregional Academy of the German Center for Art History (DFK Paris), which took place in Bogotá from 24 September to 2 October 2022. It was organized in co-operation with the Universidad de los Andes and the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome (BHMPI) and with the support of the Forum Transregionale Studien.
Von Judith Sieber. Die Ausstellung Өмә in Berlin nimmt die Bedeutung und Auswirkungen von Sprache vor dem Hintergrund russischer Geschichte in den Blick und liefert so eine interessante Perspektive auf die koloniale Vergangenheit und Gegenwart des Landes.
Vasyl Cherepanyn in conversation with Kinga Lendeczki. The head of the Visual Culture Research Center (VCRC) talks about the previously unwalked path the Kyiv Biennial followed since 2015, touching upon topics such as the legacy and influence of the Maidan revolution(s) on the Ukrainian cultural and artistic field, the specificities of being an artist or a cultural practitioner in Ukraine, the future perspectives of the European cultural field, and how East Europe can earn a new subjectivity for itself.
By Natasha Klimenko. On April 13th, 2022, I spoke to Sasha Kurmaz, an artist from Kyiv who now lives in Ivano-Frankivsk, a city in western Ukraine. When we started the interview, he told me to keep one thing in mind: “If the air raid siren goes off, I’ll have to close everything and go”.
Interview with El Meya by Katarzyna Falęcka. The artist Maya Benchikh El Fegoun (El Meya) was born in 1988 in Constantine, Algeria. Her paintings, often populated by women, respond to different visual legacies that include Orientalist images and the iconography of the Algerian War of Independence. El Meya is interested in the interiority of women, their dreams, desires, sins, life forms, and sociability.
L’artiste Maya Benchikh El Fegoun (El Meya) est née en 1988 à Constantine, en Algérie. Ses peintures sont souvent peuplées de femmes, car elle réagit à différents héritages visuels, notamment les images orientalistes ou l’iconographie de la guerre d’indépendance algérienne.
Interview with Vasyl Cherepanyn by Inga Lāce. I sat with Ukrainian curator Vasyl Cherepanyn on the afternoon of Thursday, February 18 for a conversation via Zoom. The situation in Ukraine was already tense because the Russian army had strengthened its forces on the Ukrainian border and there was constant, alarming media focus on the threat of invasion.
The artist Alevtina Kakhidze lives not far from Kyiv. She was active in the Maidan protests, and her performance for Manifesta 2014, in St. Petersburg, focused on the war in Eastern Ukraine. She speaks about the role of artists in conflicts, what happens to morality during war, and when it is acceptable to be a pacifist.
By Farouk El Maarouf. There is a Moroccan community (based particularly in the Rabat/Sale regions) of vernacular dealers, connoisseurs, and savvy art practitioners, who, like their classic elite fellows, have a great deal of knowledge about the fine arts.
By Hala Auji (Art History, American University of Beirut, Lebanon). What does it mean to teach art history, a discipline still rooted in eighteenth-century European Enlightenment ideals, in present-day Lebanon? As an art historian of the Middle East living and working in Beirut, teaching courses on the region has proven to be more challenging than one might imagine.