Autor: Academies Editorial Board

Lucy Quezada — The Official Field: Visual Arts and Cultural Policy During the Military Dictatorships of Argentina, Brazil, and Chile

Lucy’s dissertation project titled “The Official Field: Visual Arts and Cultural Policy During the Military Dictatorships of Argentina, Brazil, and Chile” undertakes a comparative study of the construction of an official discourse about the visual arts in Argentina, Brazil, and Chile during the military dictatorships between the 1960s and 1980s.

Killian Rauline – Time Discrepancies and Returns to Painting in Brazilian Art

Between the late 1960s and 1980s, doubts about progress and the means of modernization had grown in Brazil. The consolidation of the dictatorship after 1968, the failure of revolutionary movements and the difficulties to challenge international structures of power introduced a significant shift in the way time was thought and experienced.

Laura Petrauskaitė — Bolivian, Mexican and Ecuadorian Art Exhibitions in Soviet Lithuania

In her research project, based on the approaches of discourse analysis and art criticism, Laura explores the history of Bolivian, Mexican and Ecuadorian art exhibitions in Soviet Lithuania. In the second half of the 20th century Vilnius saw at least seven exhibitions presenting artists from ‘Latin America’.

Fabriccio Miguel Novelli Duro — Temporalities of an Exhibition: Uncovering the “Brazilian Salon” between 1840 and 1884

During the nineteenth century, the Imperial Academy in Rio de Janeiro started to organize the “General Exhibitions”, an event based on the model of the Parisian Salon. Since its first edition, in 1840, until the last one held during the Imperial period, in 1884, the institution upheld 26 public events. The “Brazilian Salon” was the place where native or foreign artists could submit their work, exhibit it in the Academy palace, run for prizes and be awarded.

Juan Ricardo Rey-Márquez – Ephemeral Models Enduring Depictions, Mutis and the Pursuit of the Ultimate Botanic Depiction Style

In this project, we will study the method of botanical art devices by Jose Celestino Mutis, director of the Botanic Expedition to New Granada. Mutis proposed to the Spanish Crown to conduct a revised edition of the work of Francisco Hernandez (ca. 1514-1578), who made the first botanic expedition to Hispanic America during the last quarter of the 16th-century.

Verena Kittel — Chronopolitics of Modernity: The Constitution of Non-Temporalities in Anni Albers’ and Lina Bo Bardi’s Collections of Vernacular Objects and Ancient Artifacts from Brazil and Mexico

The engagement with non-European cultures was crucial to many Western artist circles of the 1920s, such as the Weaving Workshop at the Bauhaus in Weimar and Dessau. In her paper, Verena Kittel aims at revealing the conflictuality of such practices at art educational institutions that were inspired by core principles of the German art school, reflected in the narratives, images of history, and forms of heritage created in the process.

Hannah K. Grimmer — Artistic Practices as Alternative Memory Spaces in Social Movements in Santiago de Chile

With the socialist government of Salvador Allende (1970–73) and the civil-military dictatorship of Augusto Pinochet (1973–90), Chile is a country whose recent past has been heavily contested, particularly during the transition to democracy. A homogenisation shaped the country’s memory discourse based on unification and victimization (Richard 2001), whereas coming to terms with the past and a profound transformation of the social system never took place.

Mya Dosch — Dissident Temporalities: Afterlives of 1968 in Mexican Public Space

References to “collective memory” have proliferated in recent scholarship on art and state violence in Latin America. This theorization fails to address the dynamic renegotiation of contentious pasts. Instead, the book project Dissident Temporalities: Afterlives of 1968 in Mexican Public Space proposes a theory of “afterlives.”

Ana Paula Salvat — The City as a Palimpsest and the Layers of Time: The Monoliths as Antiquities and the Political uses of Mexica Artifacts

Mexico City’s power center was installed over the previous Mexico-Tenochtitlan city by the beginning of the 16th century. On the one hand, the Spaniards preserved the urban design and the placement of power buildings, but, on the other hand, most of the Mexica art, architecture, and documentation were destroyed for ideological and religious reasons.

Bat-ami Artzi — Clashing Temporalities and their Reflection in Colonial Andean and Spanish Art

Upon the arrival of the Spaniards in the Andean region in 1532, the encounter between the two civilizations caused friction in many aspects of life. This project focuses on the clash between the two civilizations and their perception of the “other”—the Spaniards by the Andeans and vice versa—through the prism of their contrasting temporal ontologies, and studies the artistic representations that echo them.

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