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’.
In 1957, Colombian artist Pablo Solano arrived in Mallorca looking for a balmy atmosphere. Yet, that transit ended up in something more than only a hedonistic, touristic trip. This time marked a point of no return in his art life; that is, the decision to practice an informalist language thenceforth.
In relation to the respective current political and social situation, the interest of artists in indigenous, supposedly precolonial, and historical artifacts and their traditions have gradually increased since the first archaeological excavations of the late 19th century. Catalyzed by colonial efforts in archeological excavation, textile art became a political discourse driven medium and material on a broader scale.
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.
The project addresses several works of early video art created by Latin American artists during the
1970s through an interdisciplinary perspective that explores the intersections between this novel
art form and various social science disciplines.
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.
Between the late 19th and the early 20th century, many Argentine and Uruguayan artists travelled to, and settled in, Rome.
and labor perspective to problematize the production of textile art in the first decades of the 20th century in Argentina, in light of projects linked to technical education and industry.
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.
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.
This research project engages in a historical analysis of the concepts of “art” and “artist” during the late colonial period in the New Granada Viceroyalty. The specific case of the painter Manuel de Samaniego and study written sources like court cases, journals, and contracts, produced by the so-called “ilustrados neogranadinos” and by the painter himself are analyzed
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.”
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.
During his trips to Japan, Gonzalo Ariza (1912-1995), a landscape painter from Bogotá that was educated at the Escuela de Bellas Artes, had contact with works of Japanese masters that changed his view on landscape and art henceforth.
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.
