{"title":"“Que los naturales no se pueden hacer imágenes del Vergen”","authors":"Lucía Querejazu Escobari","doi":"10.1525/lavc.2023.5.3.121","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.121","url":null,"abstract":"This collection of essays brings together a selection of works that were presented at the inaugural 1° Congreso Internacional sobre Cultura Visual Iberoamericana [siglos XVI a XVIII] (International Congress on Ibero-American Visual Culture), whose core theme and subtitle was “Malas imágenes: lugares visuales de la disputa” (Bad images: visual places of dispute). Held on December 9 and 10, 2021, the meeting was organized by the Quillca program, which is devoted to the study of South American colonial art and housed in the Centro de Estudios sobre Arte, Materia y Cultura of Argentina’s Tres de Febrero University. The Congress, whose opening and closing lectures were given by Ilona Katzew (Los Angeles County Museum of Art) and Felipe Pereda (Harvard University), was an opportunity to study the provocative (that is, “bad”) side of Ibero-American images. The dictionary of the Royal Spanish Academy defines malo (bad) as that which has “valor negativo, falto de las cualidades que cabe atribuirle por su naturaleza, función o destino” (negative value, lacking the qualities that ought to be attributed to it, given its nature, function or purpose). Starting with this definition, this dossier opens a range of possibilities for discussion about the badness of images.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121644133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A. Romero, Lucila Iglesias, Juan Ricardo Rey-Márquez, Vanina Scocchera
{"title":"Introduction to the Dialogues on Malas Imágenes","authors":"A. Romero, Lucila Iglesias, Juan Ricardo Rey-Márquez, Vanina Scocchera","doi":"10.1525/lavc.2023.5.3.84","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.84","url":null,"abstract":"This collection of essays brings together a selection of works that were presented at the inaugural 1° Congreso Internacional sobre Cultura Visual Iberoamericana [siglos XVI a XVIII] (International Congress on Ibero-American Visual Culture), whose core theme and subtitle was “Malas imágenes: lugares visuales de la disputa” (Bad images: visual places of dispute). Held on December 9 and 10, 2021, the meeting was organized by the Quillca program, which is devoted to the study of South American colonial art and housed in the Centro de Estudios sobre Arte, Materia y Cultura of Argentina’s Tres de Febrero University. The Congress, whose opening and closing lectures were given by Ilona Katzew (Los Angeles County Museum of Art) and Felipe Pereda (Harvard University), was an opportunity to study the provocative (that is, “bad”) side of Ibero-American images. The dictionary of the Royal Spanish Academy defines malo (bad) as that which has “valor negativo, falto de las cualidades que cabe atribuirle por su naturaleza, función o destino” (negative value, lacking the qualities that ought to be attributed to it, given its nature, function or purpose). Starting with this definition, this dossier opens a range of possibilities for discussion about the badness of images.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122186015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Painted Cloth: Fashion and Ritual in Colonial Latin America, edited by Rosario I. Granados","authors":"Ximena A. Gómez","doi":"10.1525/lavc.2023.5.3.160","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.160","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128065267","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Image Encounters: Moche Murals and Archaeo Art History, by Lisa Trever","authors":"A. Hamilton","doi":"10.1525/lavc.2023.5.3.162","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.162","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"332 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124687968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Interacción de lo malo en el devenir de las imágenes a través de sus intervenciones","authors":"Pablo F. Amador Marrero","doi":"10.1525/lavc.2023.5.3.89","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.89","url":null,"abstract":"This collection of essays brings together a selection of works that were presented at the inaugural 1° Congreso Internacional sobre Cultura Visual Iberoamericana [siglos XVI a XVIII] (International Congress on Ibero-American Visual Culture), whose core theme and subtitle was “Malas imágenes: lugares visuales de la disputa” (Bad images: visual places of dispute). Held on December 9 and 10, 2021, the meeting was organized by the Quillca program, which is devoted to the study of South American colonial art and housed in the Centro de Estudios sobre Arte, Materia y Cultura of Argentina’s Tres de Febrero University. The Congress, whose opening and closing lectures were given by Ilona Katzew (Los Angeles County Museum of Art) and Felipe Pereda (Harvard University), was an opportunity to study the provocative (that is, “bad”) side of Ibero-American images. The dictionary of the Royal Spanish Academy defines malo (bad) as that which has “valor negativo, falto de las cualidades que cabe atribuirle por su naturaleza, función o destino” (negative value, lacking the qualities that ought to be attributed to it, given its nature, function or purpose). Starting with this definition, this dossier opens a range of possibilities for discussion about the badness of images.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"306 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122017458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visualizar a história","authors":"André L. Tavares Pereira","doi":"10.1525/lavc.2023.5.3.137","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.137","url":null,"abstract":"This collection of essays brings together a selection of works that were presented at the inaugural 1° Congreso Internacional sobre Cultura Visual Iberoamericana [siglos XVI a XVIII] (International Congress on Ibero-American Visual Culture), whose core theme and subtitle was “Malas imágenes: lugares visuales de la disputa” (Bad images: visual places of dispute). Held on December 9 and 10, 2021, the meeting was organized by the Quillca program, which is devoted to the study of South American colonial art and housed in the Centro de Estudios sobre Arte, Materia y Cultura of Argentina’s Tres de Febrero University. The Congress, whose opening and closing lectures were given by Ilona Katzew (Los Angeles County Museum of Art) and Felipe Pereda (Harvard University), was an opportunity to study the provocative (that is, “bad”) side of Ibero-American images. The dictionary of the Royal Spanish Academy defines malo (bad) as that which has “valor negativo, falto de las cualidades que cabe atribuirle por su naturaleza, función o destino” (negative value, lacking the qualities that ought to be attributed to it, given its nature, function or purpose). Starting with this definition, this dossier opens a range of possibilities for discussion about the badness of images.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129612757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reorienting Mexicanidad and the Catholic Narrative","authors":"T. Eckmann","doi":"10.1525/lavc.2023.5.3.7","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.7","url":null,"abstract":"From his provincial origins in the small northern Mexico town of Múzquiz, Coahuila, to achieving international standing at the time of his early death at the age of forty-seven, Julio Galán (1958–2006) crossed borders between Monterrey, New York City, and Paris to emerge among Neo-Expressionist and neomexicanista artists of the 1980s as radically transgressive in his self-representation. Galán combined gender-fluid imagery, a performative persona, queer self-representation, and cross-cultural visual and textual references to create large-scale, layered, dialogical visual puzzles. Establishing the centrality of Catholic ritual and doctrine in his artwork, this paper closely examines a selection of unpublished family photographs, preparatory sketches, paintings, still performances, and installations generated over the course of his career that emerged from Galán’s personal, conflicted relationship with Catholicism. Through self-portraiture, he embodied Jesus Christ and the Virgin Mary, weighing relationships between divine and human. He transformed and recontextualized religious symbols in his art, combining them with the popular and the everyday, the carnal and erotic, to bridge the divide between the sacred and the profane. Drawing from queer theory, cultural criticism, film criticism, and visual analysis, this study shows that Galán engaged with religious symbols in his art to insist on the inclusionary, a position that maintains social relevance today, particularly with the LGBTQ+ struggle for visibility and civil rights.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124937013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Hemispheric Integration: Materiality, Mobility, and the Making of Latin American Art, by Niko Vicario, and Radical Form: Modernist Abstraction in South America, by Megan A. Sullivan","authors":"M. Alvarez","doi":"10.1525/lavc.2023.5.3.164","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.164","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126734031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sculpting with the Sun","authors":"Patricia Lagarde","doi":"10.1525/lavc.2023.5.3.32","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.32","url":null,"abstract":"In the ancient Peruvian highlands, architecture and sculpture were inextricably linked to the mountainous Andean landscape. The character of light in this environment and how it illuminates architectural sculpture can fundamentally alter the way we perceive these objects. The dimensionality and placement of the tenon heads and cornice stones at Chavín de Huántar offer a unique opportunity to understand the role of the natural environment within architectural programs. Through a discussion of the sun’s role in casting dramatic shadows in the stones at Chavín, this article shifts our focus from object to shadow and demonstrates the powerful visual effects intended for individuals approaching the site. Utilizing the strong highland sun, sculptors leveraged the shadow-producing effects of these three-dimensional pieces to create spectacularly ornamented buildings. Although these vistas are lost today, archival photographs provide glimpses of the original perspectives. The sun generated movement of otherwise static sculptures, animating the heads mounted within the walls. Utilizing phenomenology of light, this paper positions the sculptures at Chavín within a cross-cultural dialogue on the role of natural light in the built environment. Together, the sculptures with their shadows animated the structure and focused the viewer’s attention on the monument from afar.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114341064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La vulnerabilidad de los cuerpos masculinos en el cine uruguayo","authors":"Cristina Míguez Cruz","doi":"10.1525/lavc.2023.5.3.50","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.50","url":null,"abstract":"This article analyzes how Uruguayan cinema portrays the vulnerability of masculine bodies when they are consumed, objectified, and erotized as models of traditional masculinities to build and reproduce the national epic of soccer. Both children in youth soccer in Mi mundial (Carlos A. Morelli, 2017) and adults of marginal masculinities in the documentaries Mundialito (Sebastián Bednarik, 2010), Maracaná (Sebastián Bednarik and Andrés Varela, 2014), and Sangre de campeones (Sebastián Bednarik and Guzmán García, 2018) enter the heroic Uruguayan narrative by following hegemonic masculine ideals, but are then discarded after fulfilling their role. As a counterpoint to the hard and athletic bodies, the soft bodies in some visual fictions show their wounds and some transgressions, such as compassion and kindness in Una forma de bailar (Álvaro Buela, 1997), Rincón de Darwin (Diego Fernández, 2013), and Una noche sin luna (Germán Tejeira, 2014).","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131389063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}