Read, watch, listen to, and discuss essays, stories, and interviews by international artists, writers, and curators for the Guggenheim UBS MAP Global Art Initiative.

Subscribe to RSS feed.
Guggenheim UBS MAP

Museum, Musex, Mutext, Mutant: Giuseppe Campuzano’s Transvestite Machine

Museo, musexo, mutexto, mutante: la máquina travesti de Giuseppe Campuzano

Alejandro Gómez de Tuddo, The Virgin of Guacas (Portrait of Giuseppe Campuzano as the Virgin Dolorosa) (La Virgen de las Guacas [Retrato de Giuseppe Campuzano como Virgen Dolorosa]), 2007
Alejandro Gómez de Tuddo, The Virgin of Guacas (Portrait of Giuseppe Campuzano as the Virgin Dolorosa) (La Virgen de las Guacas [Retrato de Giuseppe Campuzano como Virgen Dolorosa]), 2007. Chromogenic print, 70 x 194 cm. Collection of the artist, Rome

Miguel Lopez explores the artistic and political legacy of philosopher, drag queen, and activist Giuseppe Campuzano, whose Museo Travesti de Peru (Transvestite Museum of Peru) mapped out a subversive politics of gender, memory, and representation. More

Guggenheim UBS MAP

Esteban Valdés’s Fuera de Trabajo and Its Influence

Fuera de Trabajo de Esteban Valdés y su influencia

Marxz Rosado, The Process for Attaining the Signature of Pedro Albizu Campos in Neon Lights (Proceso para conseguir la firma de Pedro Albizu Campos en luces de neón), 1977–2002
Marxz Rosado, The Process for Attaining the Signature of Pedro Albizu Campos in Neon Lights (Proceso para conseguir la firma de Pedro Albizu Campos en luces de neón), 1977–2002. Neon. Installation view, Tráfico Gráfico, Dr. Pío López Martínez Museum of Art at the University of Puerto Rico, Cayey Campus, 2012. Photo: Courtesy of the Dr. Pío López Martínez Museum of Art at the University of Puerto Rico, Cayey Campus

Esteban Valdés’s groundbreaking book of concrete poetry Fuera de Trabajo is, argues Marina Reyes Franco, a touchstone of Puerto Rican culture of the 1970s that was unjustly ignored until its rediscovery by artists after 2000. More

Guggenheim UBS MAP

A small gesture towards the capital B

Eko Nugroho, Taman Berbulan Kembar (Garden with Twin Moon), 2013
Eko Nugroho, Taman Berbulan Kembar (Garden with Twin Moon), 2013. Resin sculpture, plastic flowers, Muslim women’s prayer garments, dried flowers, embroidery, and mural, dimensions variable. Installation view, Jogyajakarta, Indonesia. Photo: Courtesy Qinyi Lim

Qinyi Lim questions the urgency and ethics of contemporary international biennnials, focusing on the Biennale Jogja XII and the Singapore Biennale 2013 as symptomatic of a “universalist regionalism” overly reliant on facile categories and keywords. More

Guggenheim UBS MAP

No Me Token; or, How to Make Sure We Never Lose the * Completely

No Me Token: o, cómo asegurarnos de nunca perder el * por completo

Left to right: Santiago Montoya, Horizon (I), 2012, 159.5 x 161.5 x 10 cm; Horizon (II), 2012, 160.5 x 165.5 x 10 cm; Horizon (III), 2012, 160 x 163.5 x 10 cm. All works paper money on stainless steel. Installation view: The Great Swindle, Halcyon Gallery, London, 2012. Photo: Alfie Hunter Images
Left to right: Santiago Montoya, Horizon (I), 2012, 159.5 x 161.5 x 10 cm; Horizon (II), 2012, 160.5 x 165.5 x 10 cm; Horizon (III), 2012, 160 x 163.5 x 10 cm. All works paper money on stainless steel. Installation view: The Great Swindle, Halcyon Gallery, London, 2012. Photo: Alfie Hunter Images

In this detailed critical analysis of the ways in which Latin American art has developed and been received internationally in relation to its counterparts, José Luis Falconi proposes an alternative to the “monolithic” Western art-historical narrative. More