Women and Latin American Art; Gender Studies and Feminism; the Modern Woman, Abstract Expressionism and Postwar Material Culture In US

Historians have noted that male bureaucrats and natural resource experts tended to dominate early twentieth-century national and hemispheric conservationist movements in Latin America, but a constellation of female activists, notably Gabriela Mistral, strengthened conservationism in the cultural sphere.  Capitalizing on her leadership in Pan-Americanism, transnational feminist networks, and cutting-edge teaching, Mistral functioned throughout her career as an advocate for conservationism, gendering the natural environment in strategically essentialist ways.  Important tropes throughout her poetry, Nature and Mother Earth became specific themes in Mistral’s journalistic prose.  Here Mistral blended conservationism with anti-imperialism, arguing that Mother Earth was threatened both by man’s failure to care for her and by predatory imperialists. Environmental stewardship also played a central role in her Pan-American initiatives and complimented the “official” Pan-American Conservation Movement of the inter-war period.  Mistral’s de facto ecofeminism is echoed in Latin American women’s writing of the 1920s, 30s and 40s, suggesting that Nature represented an alternate sphere for women beyond the urban manifestations of modernization.  The gathering of female voices around the gendered image of Mother Nature also represents a corpus of early environmental prophets in Latin American letters and culture.

Introduction
Uncompromising and undaunted, Regina José Galindo fights for her and others’ freedom through art. She exposes her fragile, female body, its psychophysical condition, to threat and humiliation so as to shake up the contemporary society indifferent to violence.
The naked body of the artist – the common denominator of most of her works – contrasted with the aggression of the events she arranges, symbolizes the striking fragility of a living organism. It points to the enormous and mysterious potential of a body as a site of psychic strength or overwhelming trauma.
This analysis is a results of a fascination with the seemingly distant and strange Guatemalan artist. Getting acquainted with her output and having analyzed the forms of enslavement that she touches upon, one has to perceive her art in global terms, as a  universal and live representation of human condition. The performances discussed herein have been divided into groups in accordance with the leading themes of the artist’s output. Correspondingly, the dissertation is composed of four chapters.
The first one – An Artist of Guatemala – has been devoted to situations which are indirectly connected with Guatemala – Regina Galindo’s motherland and current place of residence. The second provides arguments for her being a Total Artist. The third – An Artist-Poet – points to the artist’s other (apart from body art) passion – poetry, tracing the similarities between the two disciplines. The last chapter, divided into four subsections, unravels along the associations with the word “corpse”. The first of the subsections – Symptoms of Death, Symptoms of Life – describes actions connected with dying. With them, the artist makes the audience confront the view of a corpse. The Object subsection discusses human body as reduced to a  sum of organic components. Volunteers covers the works that would not have been possible without the help of “assistants”. It shows the easiness with which the just-goaded participants successfully take on the roles of oppressors. Care and Memory includes examples of translating intense self-care onto caring for others.
Art that is aimed for a general public has to be radical and exaggerated. This is why the artist uses the image of death when she tries to speak of affirmation of life. When she wants to mock the discourse of biopower, she undergoes hymenoplasty and reclaims her won body. In order to speak of how we all are indecisive, enslaved, and complicated, she makes her traumas public and evokes sympathy.
Since Regina Galindo’s output has not been analyzed in Polish language so far, this dissertation is of particular academic and cognitive value. The detailed accounts of events in the successive pieces have been recreated with the use of supplementing video material, interviews with the artist, and critical texts in foreign languages.

Hasta la explosión volcánica de la artista Débora Arango (1907-2005) en los años 40, a las mujeres colombianas solo las había mirado un ojo masculino que las concebía a imagen y semejanza de la Virgen María. Incluso la obra de otras artistas mujeres  anteriores a ella o coétaneas,  se plegaba al sistema visual patriarcal. Débora, al contrario, se convierte en sujeto de la mirada y construye el continente inédito del cuerpo femenino. Después de ella, nuevas perspectivas se abren como el erotismo, la etnicidad y la política. Mujeres con órganos sexuales,violentas, mestizas, nocturnas, callejeras, vitales, fuertes, arrojadas físicamente a la historia.

Palabras clave: Artistas mujeres, género, arte político

El presente trabajo busca explicar cómo surge la Red Agroecológica de Kuña Pyrenda como una propuesta feminista y ecologista, que se ha constituido en una articulación de producción y consumo responsable de alimentos y productos artesanales, basado en principios sustentables y el comercio justo cuyas principales protagonistas son mujeres productoras rurales. Este proyecto productivo se enmarca dentro de la propuesta política de un partido feminista, ecologista y socialista en Paraguay denominado Kuña Pyrenda, el cual surge en un contexto político caracterizado por un sistema bipartidista de larga data y con partidos y referentes políticos de tinte conservador. La propuesta de la Red Agroecológica es un buen ejemplo de asociaciones de mujeres y hombres feministas organizados para crear modelos alternativos de producción en una sociedad caracterizada por el capitalismo salvaje y el modelo agro-exportador neoliberal y excluyente que ha generado grandes asimetrías en este país sudamericano.

The present work set out to examine how different experiences of displacement influenced the artistic output of Mira Schendel (1919-1988), a Swiss-born visual artist who migrated to Brazil in 1949 and became one of the most important figures in Latin American art of the twentieth century. Coming from a Jewish background, she was baptised a Catholic and raised in Italy, but she needed to flee the country in 1939 due to the Nazi persecution of Jews. Focusing on the body of work produced mostly during the sixties, this dissertation will argue that some recurrent visual elements are very much related with travels and Schendel’s life in exile. As such, three central aesthetic elements will be discussed: the use of text in painting and drawings, often mixing words in different languages; the spatial aspect of her work; and transparency, explored in works made with rice paper and plates of acrylic. Schendel’s engagement with writing will be correlated with a foreigner’s perception of language, and the use of different idioms as an attempt to create a universal vocabulary. The disorienting effect caused by the use of text in spatial installations will be read in parallel with her past displacement, as if she was lost between different lands and idioms. A crucial aspect in her work, transparency will be analysed alongside her attempt to depict different time-frames simultaneously, which is also correlated with a transitory aspect of the migrant’s life, who see themselves always between the present and the past.

"Ni una más" è il grido di protesta con cui le madres e gli attivisti conducono la loro lotta contro omertà e impunità che caratterizzano il fenomeno del femminicidio di Ciudad Juárez, città messicana al confine con gli Stati Uniti. Le relazioni tra violenza, misoginia, memoria e rappresentazione nella "città delle morte", sono esplorate attraverso un approccio interdisciplinare.
Francesca Guerisoli analizza le modalità con cui l'arte e le forme creative si oppongono al femminicidio, costruendo un orizzonte simbolico nel quale si colloca una battaglia culturale e politica transnazionale nel tentativo di ristabilire una memoria pubblica occultata dal sistema politico ed economico dominante. L'arte nata in relazione alla violenza e al femminicidio è indagata attraverso la descrizione delle opere e delle pratiche messe in atto da collettivi locali e da artisti che operano anche a livello internazionale, come Teresa Margolles, Lorena Wolffer, Ursula Biemann, Santiago Sierra, Regina José Galindo, Francis Alÿs.
Il progetto d'arte partecipativa Zapatos Rojos di Elina Chauvet, nato nel contesto di Juárez, è divenuto il simbolo più popolare della lotta al femminicidio nel nostro Paese. L'analisi critica mette in rilievo il significato della marcia di scarpe rosse e il valore che il progetto, nato in una realtà specifica, esprime anche in tutti quei contesti in cui la relazione asimmetrica tra i sessi porta al femminicidio.

Il libro ha ottenuto il patrocinio di Amnesty International - Italia: "Per la capacità di andare oltre i fatti del femminicidio, sapendo ispirare nel lettore un desiderio concreto di cambiamento. Un libro che non soltanto racconta, documenta alla perfezione e denuncia una piaga del nostro tempo con chiara fermezza, ma che trasforma l'arte in strumento per contrastare silenzio ed omertà".

postmedia books 2016
240 pp. 147 ill.
isbn 9788874901562

CHAPTER ONE REVIEW Racism and sexism are two very well-known terms under the discussion of racial oppression. Bell Hooks in this book has described the history of American social structure as a vast understanding and evidence for the discrimination between black and white Americans. Bell hooks as a social activist and feminist, has discussed slavery playing a great role in the story of racial discrimination and injustice found in the colonizer named America. During the 19 th century, Europe jotted down a cruel fate for the enslaved black men and women of that time. Mostly, Africans were either forcefully taken or kidnapped and were shipped to the Christian land in order to enslave them. The oppressive slavery doesn't complete the whole story here.

A review of the historical exhibition Dialogos Constructivistas en la Vanguardia Cubana: Amelia Peláez, Lolo Soldevilla and Zilia Sánchez (April 28 – June 25, 2016) at Lelong Galleries in New York City addressing the constructivist approach by these women artists. The review also address some of the art historical events that lead these women to develop their body of work within the Cuban art context.

The study explores multicultural relation in Almino Situmorang’s Spring (2010), which is divided into two parts of stories that become the main focus of the dicussion. The main issues to counter are representation of relation and negotiation among the four main characters who come from different ethnic, race, faith and national backgrounds. The applied theory is Will Kymlicka’s multiculturalism perspective. The applied method is close-reading technique. The result of the study shows that (1) multicultural relation represented in the novel encompasses broad and complex diversity with various differences, (2) issues concerning cultural and religious background are still negotiated in daily practices, specifically in friendship, and (3) for marrital aspects, they are hardly free from standard norms and customs that are still strongly being upheld. The conclusion of the study is that multiculturalism in Indonesia tends to be limited to social practices in the surface sphere. Therefore, it has not completely blended because of a rigid and monolithic cultural traditions.

RESUMO: A fotografia, Barthes nos lembra, é invisível: tudo o que vemos depende de uma imagem que nos remete a uma plenitude deslocada, que não está lá. Esse excedente da imagem é construído a partir da bagagem intelectual e afetiva do espectador, que para ele tem um papel sempre muito ativo e produtivo em suas obras. Pretendo, com este artigo, apontar como algumas articulações a respeito do significado das imagens, através da leitura da Câmara Clara de Roland Barthes, podem abrir caminhos relevantes na interpretação da obra da artista cubana Ana Mendieta (1948-1985). A hermenêutica pela qual Barthes se aproxima da fotografia, os vários caminhos de sua abordagem interpretativa-que revelam o Punctum das imagens-e a ontologia do afeto daquilo que nos punge, permite revelar um meio de acesso ao trabalho de Mendieta, em particular em sua Série Siluetas, que trata de diferentes tipos de invisibilidade, trabalho iniciado em 1973 no México, gerando mais de 200 registros fotográficos, a partir de performances e vídeos que transitam entre questões de gênero, nacionalidade, raça, exílio, morte, regeneração e poder feminino.  /  ABSTRACT:  Photography, Barthes reminds us, is invisible: everything we see depends on an image that brings us to a displaced fullness that is not there. This surplus of the image is constructed from the intellectual and affective baggage of the spectator, who for him has an always very active and productive role in his works. I intend, with this article, to point out how some articulations about the meaning of the images, through the reading of the La Chambre Claire of Roland Barthes, may open relevant ways in interpreting the work of the Cuban artist Ana Mendieta (1948-1985). Barthes's hermeneutic approach to photography, the various paths of his interpretative approach-which reveal the Punctum of images-and the ontology of the affect of what punishes us, reveals a means of accessing Mendieta's work, particularly in his work Siluetas series, which deals with different types of invisibility, work started in 1973 in Mexico, generating more than 200 photographic records, from performances and videos that cross between issues of gender, nationality, race, exile, death, regeneration and female power.

Libro catálogo de la exposición "Teresa Vila, Arte y tiempo", Museo Blanes, 2019. Curaduría por Elisa Pérez Buchelli y Cristina Bausero.


Teresa Vila (Montevideo, 1931-2009) fue una de las creadoras más activas y renovadoras de la escena artística en los años cincuenta, sesenta y tempranos setenta. Durante ese período su obra tuvo amplio reconocimiento en Uruguay y en destacados circuitos internacionales del arte, donde se insertó exitosamente entre las expresiones de vanguardia.
Artista referente de la historia del arte contemporáneo en el Uruguay fue, sin embargo, invisibilizada por varias décadas.
A diez años de su fallecimiento, esta exposición, realizada en el Museo Blanes (Montevideo, Uruguay), repone la obra de Vila en una mirada antológica que recupera su obra gráfica y pictórica y su trayectoria artística entre los años 1955 y 1973.

Se aborda de forma general y cronológicamente las dificultades que tuvieron las mujeres escultoras para poder dedicarse a ello en la época que habitaron. Cuál fue el entorno donde vivieron, los condicionantes que sufrieron etc. De este modo la intención es intentar poner de relieve, de forma breve pero concisa, a varias de estas escultoras,(sobre todo europeas, americanas y caribeñas) que aun siendo desconocidas a día de hoy para la gran mayoría del público en general, no por ello dejaron de ser grandes artistas. Del mismo modo por su relevancia en el Caribe se hace mayor hincapié en la figura de la escultora cubana Rita Longa. ESCULTURA

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.

Cecilia Vicuña est une artiste Chilienne de Santiago de Chile qui vit en exil depuis le début des années 1970’s. En effet, lors du coup d’État de Augusto Pinochet le 11 septembre 1973, elle  suivait  un  Master  à  la  Slade  School  of  Fine  Art  de  Londres  et  depuis,  elle  n’est  plus retournée  s’installer  dans  son  pays  natal.  Elle  vient  d’une  famille  d’artistes  et  d’écrivains, engagés à gauche. Après son séjour en Angleterre, elle a déménagé à New York où elle réside depuis 1980. Vicuña est une artiste pluridisciplinaire : elle a publié non moins de 20 livres de poésies entre 1973 et 2012, réalisé plus de 50 films, fait des installations, peintures, dessins et  performances.  Dans  ce  travail  nous  nous  centrerons  sur  ses  œuvres  picturales,  plus particulièrement sur la série de huit tableaux sélectionnés dans le contexte de la documenta 14  à  Kassel,  Allemagne.  Néanmoins,  nous  ne  pouvons  omettre  le  reste  de  la  production artistique  de  Vicuña  qui  nous  permet  de  mieux  comprendre  l’univers  de  l’artiste.  Notre objectif est donc de comprendre la place que cette série, et plus largement le média de la peinture, occupe dans la trajectoire artistique de Cecilia Vicuña, et de tisser des liens avec ses autres créations lorsque cela sera possible. Nous étudierons d’abord la série de la documenta 14. Puis, nous développerons l’importance du textile dans le travail de l’artiste et finalement nous  donnerons  des  éléments  de  mise  en  contexte  biographiques  et  historiques  qui permettrons de mieux resituer cette série.

En este detallado video, explicamos el proceso editorial de nuestra revista, desde que un ensayo se somete por primera vez en el portal digital hasta que, si es aceptado, se publica en línea (JSTOR) y en forma impresa. El video explica las etapas de evaluación y los factores que intervienen para el calendario de recepción-evaluación-revisión-publicación así como las razones para no aceptar ensayos y las opciones que tienes los autores cuyos ensayos no se aceptan.
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