The annual Asilah Cultural Moussem, an international festival held in northern Morocco, was cofounded in 1978 by Mohamed Benaïssa and Mohamed Melehi in collaboration with Toni Maraini and Al Muhit Cultural Association. It served as a significant postcolonial cultural platform, involving activists from the Casablanca Art School and artists from Africa, the Arab world, Asia,… The post The Asilah Cultural Moussem: Tricontinental Meeting Points, Toni Maraini in conversation with Morad Montazam...| post
The concept of establishing a museum in a remote region of India—one that is not only geographically isolated but also prone to natural disasters such as earthquakes and cyclones—presents a complex set of challenges. Yet, it also offers a rare opportunity to engage deeply with the traditional knowledge systems of local communities. Located in Ajrakhpur,…| post
This public program brought together Nancy Adajania, May Adadol Ingawanij, and Frida Muenala from Mullu for an evening of inquiry into forms and practices of gathering. The speakers, who represent diverse practices in the cultural fields—from art making to curation to institutional leadership—and operate across vast geographies, unpacked their different approaches to assemblies. Among the…| post
Romuald Hazoumè (born 1962, Porto-Novo, Benin) began his artistic training unintentionally. Between the ages of 10 and 12 years old, he made masks as part of a Kaléta group.Romuald Hazoumè, interview by the author, March 23, 2025. Kaléta is a tradition mainly carried out by children that was imported to the Republic of Benin in the mid-19th century by former Afro-Brazilian slaves who returned to Africa and settled in Benin.| post
Debates around the ownership of cultural heritage and decolonizing museums have become increasingly visible and polarizing in the public domain, leading to attempts to redefine the term “museum” itself.1The International Council of Museums (ICOM) Extraordinary General Assembly approved the following new definition of “museum” at the 26th ICOM General Conference held in Prague in August… The post From Loot to Legacy: Rethinking “Tibetan Art” in Western Museums appeared first on p...| post
Across Pratchaya Phinthong’s more than two-decade practice, an idiom of materiality and form has emerged that aligns his artistic trajectory along a conceptualist vein. Phinthong discusses his relationship toward this categorization and shares how he approaches his artistic practice against and alongside conceptualist gestures and methods. This edited transcript comes out of two interviews conducted with the artist over video call in June 2024.| post
Toyoko Tokiwa (1928–2019) was born in Yokohama and grew up during the devastating years of war and occupation. Tokiwa’s Dangerous Poisonous Flowers deepens our understanding of the empathetic approach and exemplifies how the photobook served as its platform while also being a more democratic form of photographic expression. Unlike exhibitions, which are confined to specific spaces and audiences, the photobook allowed for broader circulation and accessibility, reaching viewers from diverse...| post
Au Sow Yee’s three-part video series The Extreme Journey of Perwira and the Calm Sea: In 3 Acts (2019–22) begins with a karaoke session. An introductory xylophone sequence announces the unfamiliar Song of Departure: a mash-up of lyrics and melodies from a Taiwanese conscription tune and cinematic theme songs. In conventional karaoke fashion, synchronized textual cues (in Japanese, Chinese, and English) accompany a montage of images, and from the song’s main refrain, we learn of its prem...| post
Born in the village of Kwali, Ladi Dosei Kwali (1925–1984), the pioneering Nigerian potter, grew up in a family in which it was the norm for women to make pots for practical use and sustenance. Although it was customary for mothers to teach this skill to their daughters, Kwali learned pottery from her aunt. She… The post Pots, Mastery, and the Enduring Legacy of Ladi Dosei Kwali appeared first on post.| post
Before Nightfall, a 1981–82 triptych by Nilima Sheikh, imagines a scene unfolding at twilight on the campus of the Faculty of Fine Arts in Baroda, a city in the Indian state of Gujarat (fig. 1).1The name of the city was officially changed to Vadodara in 1974. Since the university was founded prior to then and…| post
Armenian performative practices and “art actions” in the 1990s were characterized less by grand gestures of plentitude and excess and more by austere, minimal, and often barely visible acts engaging with the triviality of the everyday, intervening in “closed systems” of communication, overidentifying with or ironically repeating forms and procedures of the newly constituted liberal democratic state after the collapse of the USSR and its official rituals, and demarcating institutional ...| post
