Contemporary Latin American Art

Un mapeo performativo de la práctica pedagógica de la poeta, artista y educadora Cecilia Vicuña. Explora a través de fragmentos, los cruces entre poesía, teatro, activismo, visualidad y sonido en el trabajo educativo de Vicuña. Articulado en actos-cuadros, presenta a través de imágenes distintos momentos asociados a la creación de unas prácticas pedagógicas intuitivas y descentradas, basadas en la escucha recíproca y el deshacer la mirada etno, antropo y eurocéntrica. Este propone un no-método de creación colectiva que integra aspectos visibles e invisibles de la experiencia.

Mural removal - art conservation services and consultation to save two 30' Mexican masterpiece murals from demolition in Austin Texas. See a quick video of the processes and a testimonial by the Project Manager. https://www.FineArtConservationLab.com/mural/ Questions call Scott M. Haskins or Virginia Panizzon, art conservators 805 564 3438 office, 805 570 4140 mobile, faclofficemanager@gmail.com

En este artículo analizaremos la aeropostalidad de Dittborn como una corporalidad en la que escritura, pintura, gráfica y fotografía se interpelan. Plantearemos el problema de las manchas, las huellas y las borraduras en tanto que indicios distópicos de cuerpos ausentes. Más en concreto, hablaremos de la aeropostalidad de Dittborn como una estrategia para 'hacer aparecer' el cuerpo de los desaparecidos, esto es, hablaremos de la pintura como confesión de lo que está ausente. Palavras-chave Pinturas aeropostales. Borradura. Arte chileno. Dictadura. Cuerpo-escritura. Abstract The article addresses the work of Chilean artist Eugenio Dittborn as an embodied territory in which painting, writing, graphics and photography converge. The article characterizes his use of erasures, marks, and traces as a dystopian indication of absent bodies. More to the point, the article offers a commentary on the pictorial appearance of the disappeared body; that is, elaborates on painting as a confession of what remains absent.

aliwen. 2020. #RenunciaPiñera. Arte chileno urgente durante estado de excepción. Los Futuros Imaginados, Santiago, Vicerrectoría de Investigación y Desarrollo de la Universidad de Chile, pp. 74-84. ISBN 978-956-19-1161-1.

El estallido aún en desarrollo que comenzó en Chile durante octubre de 2019, también llamado “La Revolución de los 30 Pesos” o “La Revolución de Octubre”, es un movimiento civil espontáneo y multitudinario que se desprende de las protestas organizadas por estudiantes secundarios. La fuente del malestar de les estudiantes es la misma que la de todes les chilenes: la creciente precarización de la vida ―especialmente para la clase obrera y para el lumpenproletariado― bajo el modelo socio-económico neoliberal, donde la privatización de las necesidades básicas como la educación, la pensión, la salud y el transporte, sumada la complacencia del aparato político hacia la oligarquía empresarial, someten al pueblo chileno a condiciones cada vez más adversas. La gota que derramó el vaso fue un alza en el costo del metro de $30 pesos chilenos (CLP) a partir del 6 de octubre, escalando el pasaje regular a unos $830 CLP en horario punta; un costo insostenible para varios núcleos familiares considerando que el sueldo mínimo legal en Chile es de $301.000 CLP. Les estudiantes secundaries articularon una evasión multitudinaria del pasaje haciendo un llamado a saltar por encima de los torniquetes como horda durante ciertos horarios del día y en ciertas estaciones estratégicas, planificando aquellas jornadas de evasión a través de los chat de juegos de rol en línea y también en redes sociales.

Relying on media archaeology of Friedrich Kittler, this article examines a large-scale installation, Self-Portrait. Structure. Report. 9.6.72 (1972), by Peruvian artist Teresa Burga (b. Iquitos, 1935) in comparison with the structuralist underpinnings of the dominant formulations of Conceptual art. I argue that in Self-Portrait, Burga mobilizes the logic of the media in order to open up closed, disciplinary system inscribed within both tautological/linguistic and so-called critical currents of Conceptual art. Under a familiar concept, Burga’s project combines diagrams, blueprints, photographs, medical records, light, and sound. Thus, it functions at the critical juncture of language, media, and material experiences. On the one hand, through text-based proposals and diagrams, Burga asserts the role of the artist as a creator of ideas—the paradigm of Conceptual art. On the other, she puts forth encounters with highly experiential structures, prevalent in minimal, postminimal, and technology-based art. I investigate how the artist deploys the logic of the media to transpose the content of the documents, which at first seem to constitute a repressive, police-like, archival system. I maintain that as a consequence of the transposition, Burga manifests that in reality the discourse and the media are not equivalent. In her Self-Portrait there are impassable gulfs between every single element of the piece, even if they are all supposed to encompass just one body. Therefore, by exposing self-contained and self-referential limitedness of discourse, Burga decenters the subject and opens up spaces of freedom in the closed systems that captured the imagination of her generation.

Liquid Ecologies in Latin American and Caribbean Art
Routledge, 2020

Editors: Lisa Blackmore and Liliana Gómez
With contributions from Lisa Blackmore, Liliana Gómez, Adriana Johnson,  Rory O’Bryen, Gina McDaniel Tarver, Giuliana Borea & Rember Yahuarcani, Esther Moñivas, Irene Depetris Chauvin, Elizabeth DeLoughrey & Tatiana Flores, Paul Merchant, Sophie Halart.

Liquid Ecologies in Latin American and Caribbean Art is a new interdisciplinary volume that brings into dialogue research on how different fluids and bodies of water are mobilised as liquid ecologies in the arts. Examining the visual arts, including multimedia installations, performance, photography, and film, the chapters place diverse fluids and systems of flow in art historical, ecocritical, and cultural analytical contexts. The contributions address a wide range of phenomena, probing the historical and political, cultural and environmental impacts of colonisation, urbanisation, and industrialisation in Latin America and the Caribbean through analyses of multimedia installations, performance, photography, film, poetry and testimony. Together, they address critical genealogies of liquids and fluidity, and analyse aesthetic interventions that mobilize and recreate different fluids and flows to restage their absence, scarcity, vital materiality, and to rethink the relationships between periphery and metropolis, and their related forms of knowledge and knowledge practices. The book thus traces cultural histories and analyses of hydrological and hydraulic projects centred on the engineering of bodies of water and consider shifts in their semantic, sensorial, and social orders amid contexts of political and environmental violence and conflict. The dynamic movements of liquid run through this book in configurations and situations that reframe liquids and fluidity never as pure, abstract flow, but as contingent instances of contamination, overflow, counterflow, stasis, vortex, and reflux.

The book will be of interest to scholars of art history, environmental humanities, ecological humanities, blue humanities, ecocriticism, Latin American studies, and island studies.

[ES] El poeta Leopoldo Panero fue el Secretario General de las Bienales Hispanoamericanas de Arte, magno y trascendente certamen, inscrito en la “política de la Hispanidad”, que convocó al arte contemporáneo hispano en los años cincuenta. Allí se aunaron horizontes de la diplomacia, la cultura hispana y el avance creativo, facetas confluentes en la formación e intereses del astorgano, quien condujo sus osadas, complejas y tempestuosas ediciones.

[EN]The poet Leopoldo Panero was the General Secretary of the Hispano-American Biennial Art Exhibitions. These were important and far-reaching competitions in the frame of the “politics of the Hispanic world”, which summoned the contemporary art in the fifties. In this context, diplomacy, Hispanic culture and artistic proposals met. These were all a part of the education and interests of Panero, who lead the daring, complex and stormy editions.

Miguel Cabañas Bravo: "Leopoldo Panero y las Bienales Hispanoamericanas de Arte". En: Astorica, nº 31, 3ª época, León, 2012, pp.183-208. (ISSN: 0212-6141-31)
http://hdl.handle.net/10261/64616

Adelante el pasado: oralidad y visualidad, acto y evento en las prácticas artísticas del mundo indígena contemporáneo.

Adelante el pasado: oralidade e visualidade, ato e evento nas práticas artísticas do mundo indígena contemporâneo.

Adelante el pasado: orality and visuality, act and event in the artistic practices of the contemporary indigenous world.

Resumen
Adelante el pasado es un ejercicio de lectura de la producción de dos cultores visuales del mundo indígena de Abya Yala: Rosa Tisoy-Tandioy, artista inga de Colombia, y Benvenuto Chavajay, artista maya de Guatemala. Mediante su práctica artística cargada de visualidad y acciones-eventos, presentan estrategias conceptuales cercanas al llamado giro de(s)colonial que dan cuenta de sus experiencias como creadores contemporáneos en Latinoamérica.

Resumo
Adelante el pasado: oralidade e visualidade, ato e evento nas práticas artísticas do mundo indígena contemporâneo é um exercício de leitura da produção de dois artistas visuais de Abya Yala: Rosa Tisoy-Tandioy, artista Inga da Colômbia, e Benvenuto Chavajay, artista Maia da Guatemala. Através de sua prática artística carregada de visualidade e eventos-ações, apresentam estratégias conceituais fechadas ao chamado giro dê-colonial, que explicam suas experiências como criadores contemporâneos na América Latina.

Abstract
Adelante el pasado: orality and visuality, act and event in the artistic practices of the contemporary indigenous world is an exercise in reading the production of two visual artists from Abya Yala: Rosa Tisoy-Tandioy, Inga artist from Colombia, and Benvenuto Chavajay, Maya artist from Guatemala. Through their artistic practice loaded with visuality and events-actions, they present conceptual strategies closed to the so-called decolonial turn, which account for their experiences as contemporary creators in Latin America.

This article examines the tensions between expression and expressionlessness in the works of the artist Luis Camnitzer, with special attention to these four works: "Selbstbedienung"
(Self-Service), "Patentanmeldung" (Patent Application), "Uruguayan Torture Series," and "Last Words."

Natasha Adamou, addresses the participation of Mexican contemporary artist Gabriel Orozco to the 1993 edition of the Venice Biennale with the works Empty Shoe Box (1993) and Yielding Stone (1992). In their status as everyday, almost unperceivable objects, these works were conceived to undermine this spectacular art event but ended up being rapidly consecrated and incorporated into the logic of the institution. Adamou’s chapter interrogates the tensions that arise when an artwork’s material conditions make it refractory to traditional modes of display. Her reading situates Orozco’s work in relation to Duchamp’s readymade and André Breton’s found object questioning, in light of these concepts, Orozco’s investigation of the tensions between object and sculpture, reality and representation.

In Eduardo Costa's Fashion Fictions, a series begun in 1966, he has objects made that look like jewelry (including ears, toes, and strands of hair, all in 24k gold), but that are not actually meant to be worn. Instead, they function as props intended to trigger a reaction in the fashion media. It works: first in Argentina, where it was covered in the press in 1966 or 1967, and, later, in the United States, where Richard Avedon photographed the model Marisa Berenson wearing one of Costa’s creations for the March 1968 edition of Vogue and where the photographer Hiro’s images of the same object appeared on the cover of Harper’s Bazaar in October 1968. In 2019, Alessandro Michele's fall/winter collection for Gucci reactivated Costa's Fictions. This document includes a few of Costa's texts about the Fashion Fictions.

"Relational Undercurrents: Contemporary Art of the Caribbean Archipelago," curated by Tatiana Flores for the Getty’s Pacific Standard Time: LA/LA, is a major survey exhibition of twenty-first century art of the Caribbean that employs the archipelago as an analytical framework. Working against traditional understandings of the Caribbean as discontinuous, isolated, and beyond comprehension as a result of its heterogeneous populations, multiple linguistic traditions, and diverse colonial histories, "Relational Undercurrents" locates thematic continuities in the art of the Caribbean islands. This lavishly illustrated catalogue, co-edited by Flores and Michelle A. Stephens, includes commissioned essays by scholars and curators.

Museum of Latin American Art, Long Beach, CA
September 16, 2017 - January 28, 2018

Catalogue forthcoming from Museum of Latin American Art /Duke University Press:
https://www.dukeupress.edu/relational-undercurrents?viewby=subject&categoryid=8&sort=newest

La obra artística y poética de Cecilia Vicuña se ha caracterizado por encarnar el acto de tejer en distintos medios, volviéndolo un acto político metafórico y tangible de resistencia. Tomando a la instalación multimedia Quipu desaparecido (2018) como caso de estudio, este ensayo propone acercarse a la producción de Vicuña como un gesto re-parador, un impulso textil ecológico que entrelaza la cosmovisión andina y una sensibilidad espacial multi-sensorial.//
The visual and poetic work of Cecilia Vicuña has been characterized by incarnating the act of weaving through diverse media, turning it into a political act of resistance. Taking the multi-media installation Disappeared Quipu (2018) as a case study, this paper proposes approaching Vicuña’s work as a re-pairing gesture, an ecological textile impulse that interlaces the Andean cosmovision with a multisensorial spatial sensibility.

(note by the author: this version of the text has some typos. It should say Senga Nengudi, soft sculpture).

El siguiente ensayo destaca una serie de artistas y sus obras que hacen parte dentro de lo que he llamado Los otros realistas de la generación de los noventa. Dicha denominación pone en evidencia el arte acción y el performance durante dos décadas en Colombia: 1990-2010. La relación entre arte y política es fundamental en las propuestas de estos artistas en el que claramente el cuerpo deviene ese lugar fundamental que encarna las tensiones sociales de nuestro tiempo. Sus obras son una respuesta contundente a una situación social y política donde los derechos fundamentales de los ciudadanos se ven atacados.

The new century has witnessed a transformation in the museum field. Museum attendance has increased exponentially since the 1990s, and plans for new museums have emerged as well as renovation and expansion projects, particularly for those institutions specializing in art. Notably, there has been a proliferation of private museums around the world. Private museums can be seen as a distinctive institutional model, confronting head on the issue of art museums as stakeholders in the art market and legitimizing new actors in the art world. This chapter analyzes how the private Museo Jumex in Mexico City, and the Colección Jumex before it, changed the infrastructure and behavior of the contemporary art scene at both the national and international level. Jumex became a legitimizing body that creates value for Mexico from Mexico and projects this value globally. Jumex’s commercial nature also played a role in Mexico’s current position within the international art world. This chapter explores how, under the leadership of the Mexican tycoon and collector Eugenio López and his advisers, this institution fostered the local art scene. An examination of the collection’s establishment, its interaction with the art world, its international visibility, and its constant negotiation with symbolic and economic spheres reveals the distinctive features that have gained Jumex its stature in the local and global scene.

prologue, intro and afterword of book
Publication date: October 20, 2016
Abstract:
Restrictive border protection policies directed toward managing the flow of refugees coming into neoliberal democracies (and out of failing nation-states) are a defining feature of contemporary politics. In this book, Verónica Tello analyses how contemporary artists--such as Tania Bruguera, Isaac Julien, Rosemary Laing, Dierk Schmidt, Hito Steyerl, Lyndell Brown and Charles Green--negotiate their diverse subject positions while addressing and taking part in the production of images associated with refugee experiences and histories. Tello argues that their practices, which manifest across a range of contexts including Cuba, the United States, Australia and Europe, represent an emergent, global paradigm of contemporary art, 'counter-memorial aesthetics'.

Counter-memorial aesthetics, Tello argues, is characterized by its conjunction of heterogeneous signifiers and voices of many times and places, generating an experimental, non-teleological approach to the construction of contemporary history, which also takes into account the complex, disorienting spatial affects of globalization. Spanning performance art, experimental 'history painting', aftermath photography and video installation, counter-memorial aesthetics bring to the fore, Tello argues, how contemporary refugee flows and related traumatic events critically challenge and conflict with many existing, tired if not also stubborn notions of national identity, borders, history and memory.

Building on the writings of such thinkers as Michel Foucault and Jacques Rancière, this book offers a useful concept of 'counter-memory' for the twenty-first century. It shows how counter-memorial aesthetics is not only central to the nexus of contemporary art and refugee histories but also how it can offer a way of being critically present with many other, often interrelated, global crises in the contemporary era.

http://bloomsbury.com/us/counter-memorial-aesthetics-9781474252737/

La representación ha sido inherente a las prácticas artísticas en general, es la condición del sentido en el arte, pues este se genera en las operaciones de referencialidad. Esta es la cuestión medular aquí: ¿puede el arte hoy pensar lo real? El artículo reflexiona el lugar de la representación en el arte, analizando obras de artistas chilenos, especialmente en relación a la fotoperformance.

Artículo publicado en el no. 10 de revista Alzaprima. Investigación y creación, Departamento de Artes Plásticas de la Universidad de Concepción, Chile. Agosto de 2017.

Abstract:
La figura del artista latinoamericano emerge en la década de los sesenta como expresión de una voluntad inédita de politización y articulación colectiva. A partir de la lectura de ésta en los postulados del artista, educador y teórico del arte germano-uruguayo Luis Camnitzer, expuestos en su Didáctica de la Liberación: Arte conceptualista latinoamericano (2007), podemos concebir al conceptualismo como integrante de un campo intelectual anticolonial extensivo a la región completa, a partir de su deseo de una historia del arte propia, con categorías autónomas y un horizonte emancipatorio regional. Palabras clave: artista latinoamericano, arte la-tinoamericano, crítica de arte, pensamiento an-ticolonial.

The figure of the Latin American artist that emerges in the sixties in an expression of an unprecedented will of collective politicization and articulation. Upon a reading of the postulates of German-Uruguayan artist, educator and art theorist Luis Camnitzer, in his Didactics of Liberation: Latin American conceptualist art (2007), we may conceive conceptualism as part of an extensive anticolonial intellectual field in the entire region, based on its desire for an art history of its own, with autonomous categories and a regional emancipatory horizon.

What does an assemblage made out of crumpled newspaper have in common with an empty room in which the lights go on and off every five seconds? This book argues that they are both examples of a 'precarious' art that flourished from the late 1950s to the first decade of the twenty-first century, in light of a growing awareness of the individual's fragile existence in capitalist society.

Focusing on comparative case studies drawn from European, North and Latin American practices, this study maps out a network of similar concerns and practices, while outlining its evolution from the 1960s to the beginning of the twenty-first century.

This book will provide students and amateurs of contemporary art and culture with new insights into contemporary art practices and the critical issues that they raise concerning the material status of the art object, the role of the artist in society, and the relation between art and everyday life.

Poverty and marginalization are two words that are synonymous with Latin America and many Latin American artists create work in response to these issues. This paper examines the Argentine artist Antonio Berni’s Juanito Laguna series, placing it in the sociopolitical context of 1960s - 1970s Argentina. Antonio Berni was a leftist with Marxist ideals and his ideologies forced him into exile shortly after the 1976 coup d’etat. He fled to New York where he continued his work on the Juanito Laguna series, which he used as a social critique of not only government, but of the effects of industrialization and modernization projects that he felt did not work. Antonio Berni wanted to use his art as a tool for social justice, expressing his opinions the best way he knew how - on the canvas.  Berni would express the plight of the working class and the residents of the villas miserias
(shantytowns) most notably during the latter part of his career in the late 1950s and well into the 1970s. While Juanito Laguna has been written about extensively, there is not much scholarship outside Latin America. And, more importantly, there has been no attention paid to how the character of Juanito has filtered into pop culture. In this paper, I examine instances where Juanito, the boy from the villas, has emerged from the canvas and into the public via music, YouTube, theater, and
bars while also speculating on the power of this one character’s ability to touch the lives of all Argentines.

Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens.

These transdisciplinary projects shed light on how artistic practices may communicate, extend, supplement, and challenge scientific ideas. They may also be understood to ‘decolonize’ science in the Latin American context. They do so by seeking alternatives to the logic of extractivism, emphasizing nonhuman intelligence, staging new forms of collaboration and co-creativity beyond the human, and (re)connecting Western science with other forms of knowledge and practice. This book focuses particularly on Latin American artists who are engaging with scientific ideas and methods to create new imaginaries for a post-anthropocentric world, in dialogue with decolonial thinkers and political ecologists from the region.

En la década del setenta se desarrollaron prácticas gráficas alternativas que actuaron en la frontera entre lo poético y lo político y han sido mayormente excluidos del discurso canónico de la historia el arte en Puerto Rico porque implican un desplazamiento gráfico respecto de la ortodoxia de la gráfica y su circulación en el país. En este trabajo se estudia y amplía la concepción de prácticas artísticas de motivación política entre 1970 y 1980, tomando en consideración la relación entre varios actores culturales que actuaron en el límite de la poesía, la gráfica y la acción política. El estudio se centra en la publicación Fuera de Trabajo (1977) de Esteban Valdés y la campaña del Gobierno Araña llevada a cabo por el Comité Pro Defensa de la Cultura Puertorriqueña (1980), pero también incluye otras obras y acciones centrales a esta problemática, tales como la revista mural Alicia la Roja, las performances de Carlos Irizarry, un billete-volante utilizado por el Movimiento Pro Independencia y las protestas en las bienales grabado de San Juan durante la década del setenta. Indagando en el significado que estas piezas tuvieron en su época, quiénes las realizaron, el por qué de su circulación alternativa y las implicaciones políticas que tuvieron, se ha hecho una interpretación de por qué fueron excluidas del canon de la gráfica puertorriqueña, posicionando las obras y artistas en un contexto local e internacional. También se investiga sobre las relecturas que se les hizo a partir de la inclusión de estos trabajos en distintas instancias de exhibición y circulación a partir de 2000. Como hipótesis principal, esta tesis sostiene que la gráfica experimental y política realizada en Puerto Rico entre los años 1970 y 1980 constituye un desplazamiento gráfico de circulación alternativa en relación al canon artístico local y una vanguardia relacionada al conceptualismo. Las piezas no sólo se enfrentaron a los cánones del arte en Puerto Rico, sino que también intervienen muy puntualmente en el escenario político del país, como acciones en y sobre la historia que sólo han sido reconsideradas en acción diferida a principios de la década del 2000.

An interview with Cuba contemporary artist Sandra Ceballos creator, main curator and director of Espacio Aglutinador the longest running privately own not-for-profit art gallery in Havana after the 1959 Castro's revolution. This interview was published in three parts.

La exposición “Los colores del deseo “realiza una mirada retrospectiva a la obra de Flor María Bouhot (Bello,  Colombia,1949). La artista surge en los pictóricos años 80, década en la que los artistas locales están redescubriendo apasionadamente la pintura, pero desde inéditas perspectivas. A nivel internacional, la Transvanguardia italiana y el Neoexpresionismo alemán propiciaban también una renovada reconexión con lo pictórico. Este es el contexto que nutre directa e indirectamente a la artista y a su generación. En una época en la que ya todo es posible, acude al pastiche, se apropia de imágenes de la alta y la baja cultura, bebe de estrategias expresionistas y pop, para sazonar finalmente su trabajo con una desenfadada estética kitsch.
La curaduría propone leer su obra como la afirmación de un inédito cuerpo urbano. Es el tema que explora en series como “Los amantes”, “Instancias del éxtasis” y sus múltiples representaciones de mujeres y seres de género ambiguo y colores improbables. Los cuerpos de la serie “Carnaval”, por su parte, desafían el industrial tiempo urbano con la lentitud subversiva del goce y la fiesta. Tendría que hablarse de cuerpo además en sus eróticos bodegones donde sus frutas dialogan con las flores lujuriosas de Georgia O'Keeffe .
Esta exposición busca, por un lado, realizar un merecido homenaje a sus 70 años de vida, pero también intenta poner a circular su obra en un contexto contemporáneo donde por primera vez los temas de género, raciales y multiculturales están en el centro de los debates nacionales. Una escena en la que este intrigante conjunto de imágenes construido desde los márgenes tiene, sin duda, mucho que aportar.
Sol Astrid Giraldo Escobar. Curadora.

This paper is a contribution to a conference on Latin American Art. It takes as its starting point abstract art as a way of understanding better (and at the same time questioning) the idea of Latin American Art. From a theoretical and methodological perspective, it examines the relationship between Latin American Art and Latin American artists; the issue of universalism; the anthological temptation; the relationship between Latin American abstract art and European hegemony; the prehispanical roots of abstract art; the relationship between Latin American art and United States art; the issue of cultural hybridization.

En 1939 tuvo lugar el conocido desenlace de la guerra civil española y el inicio entre los derrotados de un éxodo masivo, que afectó en enorme grado a la intelectualidad y la creatividad que venían creciendo con brillantez en la España de las dos últimas décadas. México, que también estaba forjando una fuerte personalidad cultural, fue uno de los más destacados y nutridos refugios para estos derrotados, que fueron encontrando en el país posibilidades de acomodo y desarrollo profesional. Al cumplirse setenta y cinco años de ese río de sangre española que hacía su aparición en el entorno mexicano, volvemos sobre los artistas que incluyó este peregrinaje y su inscripción en una nueva escena artístico-cultural.
http://hdl.handle.net/10261/116458

O dossiê, América Latina 'Arte & Combate', organizado pela
pesquisadora e curadora Michelle Sommer, reúne uma entrevista a ela concedida por Andrea Giunta (Argentina) e quatro breves ensaios críticos de Amanda de la Garza Mata (México), Clarissa Diniz (Brasil), Rodolfo Andaur (Chile) e Igor Moraes Simões (Brasil). Esses textos integraram a edição especial da revista francesa Artpress sobre América Latina (2020), coeditada por Michelle Sommer e Diego Milos (Chile) a convite da crítica de arte francesa Catherine Millet. Em seu conjunto, ora publicados em seus idiomas originais, eles desenham um panorama extremamente complexo e rico de questões que emergem das práticas artísticas e curatoriais e/ou institucionais no contexto latino-americano. Nele reconhecemos
muitos dos tópicos que atravessam a presente edição, colaborando para nos refletir no amplo campo das “poéticas situadas”, expressão utilizada por Andrea Giunta, que nos parece especialmente produtiva para pensar impulsos fundamentais à criação e à crítica em meio ao intenso e urgente aqui e agora em que nos encontramos.

Remediating Mamá Pina’s Cookbook is an interactive four channel video installation that explores the role of women as agents and producers of the archive. By resorting to Bolter and Grusin’s concept of remediation, the installation proposes a way in which female reproductive labor, ephemeral and domestic forms of writing, and material culture —traditionally viewed as outside of the archive— could be placed as central foci of the archive through the use of digital technologies. At its core, the installation also questions the material permanence of the archive and plays with the instability of digital technologies —or its anti-archival disposition.