Having the archival material available as a starting point, the cmb grant program provides support to research proposals on narrative and conceptual articulations, marked by theoretical, political, formal and poetic effervescence. Started in the second half of 2020, the program lasts an average six months and it is focused on researchers and artists of various fields and media, not being restricted to the visual arts.
A fac-simile translation of Robert Smithson's writings for Artforum magazine from 1966 to 1973. The translation, as a form of critical reading, unfolds into a visual mapping of the many references found in those graphic pieces:
1. Entropy and the New Monuments (1966)
2. Towards the Development of an Air Terminal Site (1967)
3. Letter to the Editor (1967)
4. The Monuments of Passaic (1967)
5. A Sedimentation of the Mind: Earth Projects (1968)
6. Incidents of Mirror-Travel in the Yucatan (1969)
7. The Artist and Politics: A Symposium (1970)
8. A Cinematic Atopia (1971)
9. Cultural confinement (1972)
10. Frederick Law Olmsted and the Dialectical Landscape (1973)
From Afro-diasporic and decolonial authors, artist Bruno Baptistelli proposes an analytical and propositive reading of the artistic practice of stanley brouwn.
A black conceptual artist, stanley brouwn was born in 1935 in Paramaribo and moved to Amsterdam in 1957. Most of his works discussed distance, measure, and displacement.
As a foreign artist in the Netherlands, Baptistelli relates brouwn’s work to the concepts of Otherness, by Jacques Lacan, and Opacity, by Édouard Glisssant.
It is evident how specific practices of obtaining and guarding value objects are acts of colonial violence, that mirror and focus upon the inequalities and subordinations of determined societies by others. From that, one can ponder on new forms of memorials like social and political movements that solidify in physicality.
O king of time and substance and cipher of the century! In Babylonia didst thou attempt to make me lose my way in a labyrinth of brass with many stairways, doors, and walls; now the Powerful One has seen fit to allow me to show thee mine, which has no stairways to climb, nor walls to impede thy passage.
In searching for signs, individuals see directions. Each knee involved in humidity preserves layers of nomad survival, and the crisped knee serves as support. Each folded knee sees what has passed. We time traveled through a few lines, marks with no fluid pattern, no snake, no calligraphy. And we kept losing things as we converse. And we keep losing things as we listen. And we lose things as we try to be alive. And we did little more than keep losing things.