This is the first bulletin from the art department of Tricontinental: Institute for Social Research. In this series, we will share our collective creative endeavours, news from our latest events, and how the art we are inspired by feeds the work of global social movements.
This dossier discusses the struggle against apartheid in South Africa, highlighting the role of the Medu Art Ensemble (1979-1985) in mobilising cultural workers and the people inside and outside South Africa.
To celebrate the four decades since the founding of the MST, several organizations are calling on artists from all over the world to participation in the MST 40 Years Art Call.
On 2 May 1942, hundreds of China’s leading writers, artists, and communist leaders gathered to discuss the key cultural questions of the time. The historic Yan’an Forum on Literature and Art lasted for three weeks.
Tricontinental: Institute for Social Research interviewed the painter Zheng Shengtian. Winds from Fusang (2017) is a mural by him and Sun Jingbo included in dossier no. 51, Looking Towards China: Multipolarity as an Opportunity for the Latin American People.
On the anniversary of the 26th of July Movement’s founding, Tricontinental: Institute for Social Research launches the online exhibition, Let Cuba Live. 80 artists from 19 countries – including notable cartoonists and designers from Cuba – submitted over 100 works in defense of the Cuban Revolution.
On 16 May 1871, the Vendôme Column – the symbol of Napoleon-era imperialism – came toppling down. In honour of this anniversary, Tricontinental: Institute for Social Research along with 26 international publishers, organised an online exhibition, Paris Commune 150.
In the middle of our pandemic year, 162 artists from 30 countries and 27 organizations contributed to the Anti-Imperialist Poster Exhibitions. They responded to a series of open calls to make posters that give expressions to four defining concepts of our time: capitalism, neoliberalism, imperialism and hybrid war.
In 1965, the Indonesian revolutionary cultural organisation, Lekra, had 200,000 members and one and half million supporters. This was followed by a coup and the killing of one million communists in the months that followed.
In 1965, the Communist Party of Indonesia (PKI) had three and a half million cadre and 20 million mass base, including its cultural wing – Lekra. With 200,000 members, it is likely the largest left cultural organisation to have ever existed.
This interview with Pavel Égüez – a Latin American painter and muralist – discusses the situation in Ecuador and his new series of paintings, Cuarantena (‘Quarantine’).
We sat down with Li Zhong (李钟) at a small open-air tea house run by a friend of a friend; Zhong is a painter of the Shanghai Academy of Painting and Calligraphy and president of the Fengxian District Artist Association.
For CoronaShock: The Virus and the World, we invited artists and militants from around the world to contribute visual reflections made in quarantine to the CoronaShock Sketchbook.
This dossier traces the history of graphic production in post-Revolutionary Cuba, particularly through OSPAAAL. Cuba, once a darling of U.S. imperialism, would carve its own path towards socialism. Among the Revolution’s inheritances was a well-developed means of mass communication and a U.S.-trained labour force.
This dossier discusses the struggle against apartheid in South Africa, highlighting the role of the Medu Art Ensemble (1979-1985) in mobilising cultural workers and the people inside and outside South Africa.
To celebrate the four decades since the founding of the MST, several organizations are calling on artists from all over the world to participation in the MST 40 Years Art Call.
Tricontinental: Institute for Social Research interviewed the painter Zheng Shengtian. Winds from Fusang (2017) is a mural by him and Sun Jingbo included in dossier no. 51, Looking Towards China: Multipolarity as an Opportunity for the Latin American People.
On 2 May 1942, hundreds of China’s leading writers, artists, and communist leaders gathered to discuss the key cultural questions of the time. The historic Yan’an Forum on Literature and Art lasted for three weeks.
On the anniversary of the 26th of July Movement’s founding, Tricontinental: Institute for Social Research launches the online exhibition, Let Cuba Live. 80 artists from 19 countries – including notable cartoonists and designers from Cuba – submitted over 100 works in defense of the Cuban Revolution.
On 16 May 1871, the Vendôme Column – the symbol of Napoleon-era imperialism – came toppling down. In honour of this anniversary, Tricontinental: Institute for Social Research along with 26 international publishers, organised an online exhibition, Paris Commune 150.
In the middle of our pandemic year, 162 artists from 30 countries and 27 organizations contributed to the Anti-Imperialist Poster Exhibitions. They responded to a series of open calls to make posters that give expressions to four defining concepts of our time: capitalism, neoliberalism, imperialism and hybrid war.
In 1965, the Indonesian revolutionary cultural organisation, Lekra, had 200,000 members and one and half million supporters. This was followed by a coup and the killing of one million communists in the months that followed.
In 1965, the Communist Party of Indonesia (PKI) had three and a half million cadre and 20 million mass base, including its cultural wing – Lekra. With 200,000 members, it is likely the largest left cultural organisation to have ever existed.
This interview with Pavel Égüez – a Latin American painter and muralist – discusses the situation in Ecuador and his new series of paintings, Cuarantena (‘Quarantine’).
We sat down with Li Zhong (李钟) at a small open-air tea house run by a friend of a friend; Zhong is a painter of the Shanghai Academy of Painting and Calligraphy and president of the Fengxian District Artist Association.
For CoronaShock: The Virus and the World, we invited artists and militants from around the world to contribute visual reflections made in quarantine to the CoronaShock Sketchbook.
This dossier traces the history of graphic production in post-Revolutionary Cuba, particularly through OSPAAAL. Cuba, once a darling of U.S. imperialism, would carve its own path towards socialism. Among the Revolution’s inheritances was a well-developed means of mass communication and a U.S.-trained labour force.
