Latin American and Latinx Visual Culture最新文献_第5页

Justos y pecadores 正义与罪人

Latin American and Latinx Visual Culture Pub Date : 2023-07-01 DOI: 10.1525/lavc.2023.5.3.114

Mónica Pulido Echeveste

{"title":"Justos y pecadores","authors":"Mónica Pulido Echeveste","doi":"10.1525/lavc.2023.5.3.114","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.3.114","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":"17 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":"127641721","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}

引用次数: 0

Instructions for Uncertain Futures 不确定的未来

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.26

Luke Urbain

{"title":"Instructions for Uncertain Futures","authors":"Luke Urbain","doi":"10.1525/lavc.2023.5.2.26","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.26","url":null,"abstract":"This article explores concepts of safety, care, and conservation in the work of American artist Felix Gonzalez-Torres (b. 1957 in Cuba, d. 1996 in USA). Though conservation may be characterized as an invariable commitment to the art object’s physical integrity in perpetuity, Gonzalez-Torres’s work insists on alternative practices that accommodate material, social, and infrastructural transformation. This reading attends to the Certificates of Authenticity and Ownership that accompany the artist’s work, which are read as theoretical engagement with and extension of his practice. Developed by the artist and his gallerist Andrea Rosen in the 1990s, these instructions outline the terms of the initial installation, ongoing maintenance, and future stagings of his highly dynamic work. This essay traces the implications of the instructions across three expanding time frames to demonstrate how they allow for work that exists in both radical excess and negation of the norm; in expanded material, social, and ecological coalitions; and that anticipates infrastructural change in the face of unknowable futures. In contradistinction to conservation’s normative horizon and the safety of the ever-same, the artist outlines an inchoate care ethic, one this article calls safekeeping and that continues decades after the artist’s death to enable ways of being with change amid uncertain prospects before the futural.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115410267","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}

引用次数: 0

Review: Vital Voids: Cavities and Holes in Mesoamerican Material Culture, by Andrew Finegold 书评:《重要的空隙:中美洲物质文化中的空洞和空洞》，作者:安德鲁·菲尼戈尔德

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.147

Jillian Mollenhauer

引用次数: 0

Pyramids, Mountains, and Sight Lines 金字塔、山脉和视线

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.9

Yifan Zou, Claudia Brittenham

{"title":"Pyramids, Mountains, and Sight Lines","authors":"Yifan Zou, Claudia Brittenham","doi":"10.1525/lavc.2023.5.2.9","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.9","url":null,"abstract":"Teotihuacan’s distinctive urban grid has long attracted scholarly investigation. This essay examines several aspects of how the monumental core and its relationship to surrounding mountains changed over time. Specifically, it discusses how two of the most notable geomantic alignments at Teotihuacan—that of the Moon Pyramid with Cerro Gordo and that of the Sun Pyramid with Cerro Patlachique—were gradually refined over the centuries. Marvin Trachtenberg’s model for premodern design processes, called Building-in-Time, with its emphasis on continual redesign, concatenation, and retrosynthesis, serves as analytical framework. First, the essay argues that the location of the front stair of the Moon Pyramid remained fixed in successive reconstructions of the building because it frames a particular visual relationship between the Sun Pyramid and Cerro Patlachique behind it. Second, it presents a north-south alignment between the summits of the Moon and Sun Pyramids that developed as the Moon Pyramid was enlarged. Finally, it considers how the structures of the Moon Plaza helped eclipse the view of Cerro Gordo during the final phases of the Moon Pyramid’s history. These sight lines shaped the viewers’ embodied experience in ways that reinforced social hierarchies, reminding us that monumental architecture in Teotihuacan’s center not only unified its subjects but also reified distinctions among them.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114635872","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}

引用次数: 0

Review: Inventing Indigenism: Francisco Laso’s Image of Modern Peru, by Natalia Majluf 书评:《发明本土主义:弗朗西斯科·拉索的现代秘鲁形象》，作者:娜塔莉亚·马鲁夫

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.149

Verónica Uribe Hanabergh

引用次数: 0

Los neoliberarchivos de Teresa Margolles 特蕾莎·马戈尔斯的新自由主义档案

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.57

Adriana Miramontes Olivas

{"title":"Los neoliberarchivos de Teresa Margolles","authors":"Adriana Miramontes Olivas","doi":"10.1525/lavc.2023.5.2.57","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.57","url":null,"abstract":"In Lote Bravo (2005), What Else Could We Talk About? Cleaning (2009), and Irrigation (2010), contemporary Mexican artist Teresa Margolles exposes and denounces the política de negación, or politics of denial, that conceals or disregards the violence and the precarious conditions that define life along the US border in Ciudad Juárez, Chihuahua, Mexico. Here, neoliberal rationality has empowered a corrupt political and economic class to sanction behavior that favors profit over life and creates a culture of fear and death. To investigate Margolles’s confrontational approach and her recurring engagement with this border city, or “cyclical border encounters,” I adopt the concept of neoliberarchivos, defined as contemporary artworks that act as anti-neoliberalist counterarchives, rendering visible the exercise of violence upon bodies as seen in the feminicidios, masculinicidios, and juvenicidios that have occurred for the last three decades on the border. In the form of installation, sculpture, video art, site-specific artworks, and performance, the neoliberarchivos document and display marginalized knowledge and contest official rhetoric. The neoliberarchivos of Teresa Margolles exemplify a significant trend in global contemporary art that seeks to destabilize hegemonic economic and power structures dominant at the border through a counterarchival impulse.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132248111","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}

引用次数: 0

Review: This Must Be the Place: An Oral History of Latin American Artists in New York, 1965–1975, by Aimé Iglesias Lukin 书评:这必须是地方:拉丁美洲艺术家在纽约的口述历史，1965-1975，作者:艾姆斯·伊格莱西亚斯·卢金

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.153

Niko Vicario

引用次数: 0

Radical Women 激进的女性

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.81

Cecilia Fajardo-Hill

{"title":"Radical Women","authors":"Cecilia Fajardo-Hill","doi":"10.1525/lavc.2023.5.2.81","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.81","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122232849","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}

引用次数: 0

Water Is a Time Machine 水是时间机器

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.140

A. Motta

{"title":"Water Is a Time Machine","authors":"A. Motta","doi":"10.1525/lavc.2023.5.2.140","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.140","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129421494","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}

引用次数: 0

Interview and Commentary 采访与评论

Latin American and Latinx Visual Culture Pub Date : 2023-04-01 DOI: 10.1525/lavc.2023.5.2.3

Charlene Villaseñor Black, A. Dávila

引用次数: 0