Verschlagwortet: Latin American Art

Sofía Vindas Solano – Cosmopolitan outsiders: Artistic practices and cultural activity of Central American artists at the international circuits of modern art, 1950s-1970s

This project analyzes how between the 1950s and 1970s, certain Central American artists engaged in a large network of local and international cultural spaces (public and private) that were devoted to the promotion of Latin American modern art. These artists were engaged in a complex circuit of art exhibits, art competitions such as biennales and lectures amongst others to occupy space in the larger debate of what Latin American Art was supposed to be.

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.

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’.

Nicolás Perilla Reyes – Pablo Solano’s Fondos del Mar: Majorcan Informalism and Politics

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.

Franciska Nowel Camino – Interwoven Epistemologies. The Affirmative Reception of Latin American Textile Techniques in Art since 1950

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.

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.

Verena Kittel — Chronopolitics of Modernity: The Constitution of Non-Temporalities in Anni Albers’ and Lina Bo Bardi’s Collections of „Popular“ and „Pre-Columbian Art“

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 — Tengo el puño esperanza(d)o porque todo cambiará. Artistic Practices and Social Movements in Santiago de Chile for the 18-O

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.

Lina María Garzón – “Art” and “Artist” in the Eyes of New Granadans in the 18th and 19th Centuries.

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

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.”

Suche in OpenEdition Search

Sie werden weitergeleitet zur OpenEdition Search