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Radicalisms, Identities and Transnational Networks (1960s–1980s) - Lessons 10 to 15


Modernism
Cultural Autonomy
Abstraction
fromFeb 18, 2026toMar 11, 2026

How can art unsettle structures of power and inherited colonial legacies? This module follows postmodern and experimental practices across Europe, Africa, Latin America, and West Asia that contest domination and reimagine histories, identities, and collective futures.

 Radicalisms, Identities and Transnational Networks (1960s–1980s) - Lessons 10 to 15

This module foregrounds artistic practices that confront systems of power, colonial legacies, and ideological control. It explores expanded and postmodern practices in Europe and the U.S., alongside art produced outside official doctrines in Central and Eastern Europe. In Africa and the Black diaspora, it examines decolonial artistic renaissances that reclaim histories and identities. The module also addresses Latin American art shaped by resistance and spirituality, postcolonial avant-gardes and the art of exile across North Africa and West Asia, and the persistent negotiations of power and identity in the Soviet and post-Soviet space.

Course Lessons

Art Beyond Official Doctrines across Central and Eastern Europe

Feb 21, 2025 at 2:00PM GMT+1

Art Beyond Official Doctrines across Central and Eastern Europe

Art in East-Central Europe after 1945 unfolded in the tension between state authority and individual agency. This lesson traces how artists working beyond official frameworks reimagined creative autonomy through performance, mail art, and conceptual experimentation. Linking local dissent to global expressions of avant-garde movements, their work demonstrated how art could persist as criticism and survival; an act of imagination within, against, and beyond political restrictions.

Repression, Resistance, and Spirituality in Latin America

Feb 28, 2026 at 2:00PM GMT+1

Repression, Resistance, and Spirituality in Latin America

When expression itself became a political act, artists across Latin America turned to experimentation as resistance. From the Anthropophagic and Neo-Concretist revolutions in Brazil to the radical performances of Tucumán Arde and CADA, this lesson traces how artistic practice negotiated repression, reinvented form, and reasserted cultural autonomy. Through gestures of appropriation, abstraction, and community action, art became both testimony and transformation—a means to imagine freedom in the face of control.

Modern Arab Art in a (Post)Colonial Context: Subjectivation, Independence, Emancipation

Mar 7, 2026 at 2:00PM GMT+1

Modern Arab Art in a (Post)Colonial Context: Subjectivation, Independence, Emancipation

In the long twentieth century of (post)colonial transformation, art across North Africa and West Asia became a field of negotiation, between tradition and modernity, exile and belonging, the spiritual and the political. From Saloua Raouda Choucair’s geometric abstraction to the visionary experiments of Mohammed Chabâa, Huguette Caland, and Shakir Hassan Al Said, this lesson traces how artists forged plural modernities that resisted both colonial universalism and cultural essentialism. Their work reveals modern art not as imitation, but as a continuous act of translation across histories and languages.

Artistic Practices Across the Soviet and Post-Soviet Space

Mar 11, 2026 at 5:00PM GMT+1

Artistic Practices Across the Soviet and Post-Soviet Space

Art in the Soviet and post-Soviet space unfolds as a history of negotiation between control and autonomy as much as between ideology and imagination. From the poetic subversions of non-conformist painters to the conceptual wit of Sots Art and the radical interventions of Pussy Riot, this lesson traces how artists have continuously redefined the boundaries of freedom. Whether through performance, text, or the politics of the street, their work transforms the struggle against domination into a creative and ethical act of persistence.

Professors

Beáta Hock

Scholar and curator

Beáta Hock

Beáta Hock is a scholar and curator specializing in the art and cultural history of East-Central Europe, with a strong focus on feminism and transnational perspectives. Her research extends on post-war art and culture with a focus on the gender dimension. Lectures across different universities and curators of international exhibitions in Germany and Hungary.

Raphael Chikukwa

Curator and institutional leader

Raphael Chikukwa

Raphael Chikukwa is a Zimbabwean curator and institutional leader, serving since 2020 as Executive Director of the National Gallery of Zimbabwe (NGZ). His curatorial work includes significant exhibitions such as Visions of Zimbabwe (Manchester, 2004), and collaborative or regional projects like Kabbo Ka Muwala: Migration and Mobility in Contemporary Art (2016) and African Voices (2017).

Gaudêncio Fidelis

Curator and art historian

Gaudêncio Fidelis

Gaudêncio Fidelis is an art historian and curator with extensive experience in curating exhibitions (he has curated more than 50 exhibitions) and publishing. His work mainly focuses on Brazilian and Latin American art, institutional and cultural politics, and issues of social inclusion, identity, and freedom of expression in the arts. Now Adjunct Associate Professor at the City University of New York.

Morad Montazami

Art historian, publisher and curator

Morad Montazami

Morad Montazami is an art historian, a publisher and a curator. After serving at Tate Modern, she is now the founder of the platform Zamân Books & Curating, committing her studies to transnational studies of Arab, Asian and African modern and contemporary art.

Viktor Misiano

Curator, editor, and theorist

Viktor Misiano

Viktor Misiano is a curator, editor and theorist. He has curated multiple artistic institutions and major artistic events, including the Pushkin National Museum of Fine Arts and the Central Asia Pavilion at the Venice Biennale. He is also the founder of the Manifesta Journal: Journal of Contemporary Curatorship (Amsterdam). His main research focuses on post-Soviet and East-European contemporary art, and the social and geopolitical role of curatorial practice.

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