Autor: Academies Editorial Board

The German Center for Art History (DFK Paris, Max Weber Foundation),
the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome (BHMPI), and the Museo de Arte de Lima (MALI) invite doctoral candidates and postdoctoral researchers in the field of art history and allied disciplines to apply for the 5th Transregional Academy on Art and Culture in Latin America, which will convene at the Museo de Arte de Lima from May 4 to May 12, 2024. The Academy is made possible with support from Getty through its Connecting Art Histories Initiative and will be conducted in cooperation with the Forum Transregionale Studien (Berlin).

This investigation posits a chronology of the mausolea in the Lima cemetery, while paying special attention to internal social dynamics. The variable of time is required and necessary because, otherwise, all mausolea, being then imported mostly from Italy, would have remained no more than curious and peripheral copies of a more original and organic European artistic impulse. The sudden appearance of these funerary works in Limenean ground was only possible thanks to the Peruvian liberal market reforms implemented since 1845-1846 in the context of the guano age state’s fiscal bonanza.

Celia’s dissertation project examines scientific images and objects conceived in the Spanish Americas that communicated local initiatives to a broad community of readers and viewers—colonial, imperial, and trans-imperial—in the second half of the eighteenth century. This study works from the ground up, looking at projects initiated by scientific actors in different colonial locales and the visual archives they generated, which were critical to the management of imperial resources and the development of modern science.

In this project, Juliana Robles de la Pava develops how the material agencies in certain practices of contemporary artists from South America -such as Valeria Conte Mac
Donell from Argentina, Aldo Chaparro from Peru and Sheroanawe Hakhiiwe from the Venezuelan Amazon- configure a material micropolitics capable of rewriting certain codes of Modern Aesthetics and Western Art History from which poetics have been developed and from which Patrimonial, Historiographic and Theoretical art policies have been undertaken.

The dissertation project deals with the question of how, in the second half of the
19th century, international exhibitions and world’s fairs both in Europe and Latin
America favored a transregional artistic exchange in the visual arts and how this
exchange contributed to the further development of regional iconographies and
styles. In particular, the project investigates the genre of Realism in Argentina and
Italy in a comparative approach with a focus on landscape representations.

This research investigates culturally hybrid art and architecture created in the 17th and 18th centuries within the Brazilian Amazon’s eastern region. Focusing on European architectural treatises imported through religious orders and expeditions, such as Antônio José Landi (1713-1791), the project aims to unravel the reception and operation of these influences, merging with images and systems of thought of other cultural matrices.

Focusing on the impact that the experiences of mobile legal actors and other mediators from New Spain’s colonial administration and bureaucracy had on the changing intellectual ecologies in early modern continental Europe, its legal practices, and visual cultures, Linda’s paper examines selected artistic and notarial drawings and pictographs present in legal and juridical documents from Spain’s Italian territories and its colonial settlements in the Americas.

The Marangani church in Cusco provides a particular example to study the forced dispersion of artworks, as having a larger number of Jesuit-origin canvases allows us to reconstruct their intended functionality and observe their documented displacement. Utilizing sources such as the Junta de Temporalidades, parish books of Maranganí, and notarial protocols, along with the iconographic analysis of these nine paintings, I will demonstrate evidence of this forced movement as a phenomenon reminding us that the church has always been a space in contention.

This multidisciplinary project considers the colonial convent as an inhabitable object of ritual, through examining the relationship between the architectural cloisters and art objects of the two large convents in Cusco, Peru: Santa Clara and Santa Catalina. Through an in-depth analysis of the construction, decoration, and use of these two colonial convents, I argue that the convent was an inhabitable object designed by the nuns for ritual practice.

Camila Mardones’ doctoral research dealt with indigenous parishes in the colonial Andes, analyzing social structures through material culture, images and ritual practices, in order to understand the transcultural base of Andean Catholicism. In the context of Bourbon reforms and increasing social discontent of the 18th century, she developed an in depth micro-historical analysis of case studies with a comparative approach of two neighboring ecclesiastical jurisdiction that had significant circulation of people and goods between them, but their appropriation of European religious practice was divergent, leading to observe the close link between local economy and religion.

My research analyses hand-held paper ephemera and the significance and development of printed media in nineteenth-century Lima, Peru. These portable objects include photographs (such as the carte-de-visite format), promotional cards, playing cards, and single sheets of illustrations.

Drawing upon the various iterations of the Madonna di Trapani, this paper explores how copies of miraculous images gained agency and conveyed power as they journeyed from their place of manufacture to distant sites. It places particular emphasis on the role of resemblance between the original and the replica in facilitating this process.

My research addresses the circulation of modern and contemporary rural and indigenous objects across different cultural and conceptual contexts. Likewise, rather than studying these objects in isolation, as if no external influence had defined their meanings and forms, as many previous studies suggest, I seek to analyze them as part of local and transregional circuits.

In light of current discourses on the power of images, this paper will add an art theoretical approach to the discourse on the concepts of evil in Latin America, at a time when the devil as artist (›mille artifex‹) was already a well-established topos in early modern Europe. It will thus contribute to the transregional and transcultural character of the Academy’s overarching theme of the study of Latin American art.

I study the arts and literatures of Andean archaeology from the 16th to the 18th centuries. I explore the theorization and imagining of Pre-Columbian built landscapes in Early Modern arts and literatures in a global perspective.