Latin American and Latinx Visual Culture最新文献

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Review: Rubens in Repeat: The Logic of the Copy in Colonial Latin America, by Aaron M. Hyman; Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820, by Maya Stanfield-Mazzi 书评:《鲁本斯的重复:拉丁美洲殖民地的复制逻辑》,亚伦·m·海曼著;服装新世界教会:礼仪纺织品西班牙美洲,1520年至1820年,玛雅斯坦菲尔德-马齐
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.131
E. Levy
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引用次数: 0
Embroidery in Abya Yala 阿比亚亚拉的刺绣
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.119
Lorna Dillon
{"title":"Embroidery in Abya Yala","authors":"Lorna Dillon","doi":"10.1525/lavc.2022.4.4.119","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.119","url":null,"abstract":"In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122851527","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
Textiles para la paz en el posacuerdo en Colombia 哥伦比亚协议后的和平纺织品
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.88
B. López, Berit Bliesemann de Guevara, B. Marín
{"title":"Textiles para la paz en el posacuerdo en Colombia","authors":"B. López, Berit Bliesemann de Guevara, B. Marín","doi":"10.1525/lavc.2022.4.4.88","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.88","url":null,"abstract":"In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121328002","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
El Apocalipsis según León Ferrari 利昂·法拉利的《天启》
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.40
Agustin Fischer
{"title":"El Apocalipsis según León Ferrari","authors":"Agustin Fischer","doi":"10.1525/lavc.2022.4.4.40","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.40","url":null,"abstract":"Starting in the 1960s, the Argentine artist León Ferrari referred repeatedly in his visual and written works to God’s punishments in the Bible. Plagues, famines, floods, and sinners burning in eternal fire were constants. Additionally, the artist focused on animals, descriptions of nature, and continual references to biblical ecological orders. Beginning with El árbol embarazador (1964) and the literary collage Palabras ajenas (1967), this combination of biblical stories and animals or natural disasters was present in Ferrari’s oeuvre until the end of his life. The aim of this article is to analyze the frequent appearance of nature and the way in which it intermingles with wars and historical massacres, with plagues and divine retribution, taking as a starting point Ferrari’s stance against the Vietnam War to investigate the trajectory of a radicalism that was conceived in the sixties but that extended to his more recent works. Through the study of his writings, this article argues that the apocalyptic themes and a consistent ecological interest contribute to a “biblical fiction” that permeates Ferrari’s denunciation of the complicity between political and religious violence.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125444186","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
Lejos de Veracruz 远离韦拉克鲁斯
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.26
Camila Torres-Castro
{"title":"Lejos de Veracruz","authors":"Camila Torres-Castro","doi":"10.1525/lavc.2022.4.4.26","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.26","url":null,"abstract":"The urban landscape of Mexico City has been the main subject of many Mexican films throughout the years, transforming the city into a character itself. The movie Güeros (dir. Alonso Ruizpalacios, 2014) is no exception, telling the story of four young people navigating the metropolis at a time of political and social turmoil in late 1990s Mexico. This essay discusses the intersection between three elements that construct the utopia these characters are looking for: the city, its sounds, and a former rock star. The main intention is to foreground the sounds of the city not as an accessory to the moving image, but as an integral part of the construction of the plot, drawing from R. Murray Schafer’s concept of “soundscape” (1979), as well as on Josh Kun’s (2005) and Brandon LaBelle’s (2010) discussions around space and sound. The film is shot in black and white in an effort to tell a tale of dualism, one that insists on constructing otherness through opposition, primarily as it relates to the urban. By following the binary gesture first presented by the chiaroscuro, this essay argues that silence opens up a possibility for intimacy as opposed to a deafening environment that engulfs the inner worlds of its inhabitants. The search for a home is framed by aural elements that resist the regime of noise that characterizes the city. I propose a counterintuitive analysis that unpacks the symbolic charge of these narrative elements as they tell a parallel story that may not be portrayed in purely visual terms.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132104055","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: Peru: A Journey in Time, edited by Cecilia Pardo and Jago Cooper 书评:《秘鲁:时光之旅》,由塞西莉亚·帕尔多和雅戈·库珀编辑
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.129
Emily C. Floyd
{"title":"Review: Peru: A Journey in Time, edited by Cecilia Pardo and Jago Cooper","authors":"Emily C. Floyd","doi":"10.1525/lavc.2022.4.4.129","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.129","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133786118","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
Reimagining the Borderland 重新想象边境之地
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.81
Mónica Salazar
{"title":"Reimagining the Borderland","authors":"Mónica Salazar","doi":"10.1525/lavc.2022.4.4.81","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.81","url":null,"abstract":"In these Dialogues, Lorna Dillon brings together essays that explore the relationship between fiber art and social justice in Latin America. The authors discuss Chilean arpilleras, needlework projects and the struggle for peace in Colombia, the Mexican Embroidering for Peace Movement, and Margarita Cabrera’s fabric sculptures about the US-Mexico borderlands. The section brings the work of scholars from different regions into dialogue. Beatriz Elena Arias López, Berit Bliesemann de Guevara, and Berena Torres Marín reflect on textile initiatives undertaken by peace signatories of the former guerrilla group FARC. Mathilda Shepard analyzes the work of the Tejedoras de Mampuján, asking what it means to speak of justice, reparations, and reconciliation in the wake of the plantation. Danielle House reflects on Mexican embroidery. She considers violence in Mexico and the way the victims it consumes have been framed as “ungrievable.” Mónica Salazar discusses symbolic resistance in participatory needlework projects about the US-Mexico border. Dillon writes about Chilean arpilleras and Colombian testimonial textiles. She draws parallels among the different artistic practices discussed in the collected essays, tracing the emergence of a supranational artistic movement that generates meaning through a multiplicity of practices. The Dialogues demonstrate the new signifying processes that these needlework groups use, as well as the way they articulate meanings that extend beyond the stitches and semiotics of their clothwork.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116468940","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: Art for the Future: Artists Call and Central American Solidarities, edited by Erina Duganne and Abigail Satinsky 书评:《面向未来的艺术:艺术家的呼唤与中美洲的团结》,Erina Duganne和Abigail Satinsky主编
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.138
Paloma Checa-Gismero
{"title":"Review: Art for the Future: Artists Call and Central American Solidarities, edited by Erina Duganne and Abigail Satinsky","authors":"Paloma Checa-Gismero","doi":"10.1525/lavc.2022.4.4.138","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.138","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132662122","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
The Garden of Eden Revisited 重游伊甸园
Latin American and Latinx Visual Culture Pub Date : 2022-10-01 DOI: 10.1525/lavc.2022.4.4.9
Miguel Gaete
{"title":"The Garden of Eden Revisited","authors":"Miguel Gaete","doi":"10.1525/lavc.2022.4.4.9","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.4.9","url":null,"abstract":"This article examines the view of South America as the Garden of Eden through the lens of three German romantic artists: Johann Moritz Rugendas, Otto Grashof and Carl Alexander Simon. I discuss some of their paintings and drawings of the jungles of Brazil and the forests of Chile, along with notes and entries from their travelogues, to determine the extent to which specific elements from the German Weltanschauung, together with a colonialist gaze, drove their depiction of South America. The general argument is that linkages between South America and paradise raised by German artists throughout the nineteenth century would not have meant a glorification of South American nature, as is usually maintained. On the contrary, they should be read as the conjunction of factors such as racial assumptions prompted by new scientific disciplines, a sense of cultural superiority, and an intense obsession with both the past and an idea of purity projected onto distant lands. This, in turn, would have been part of a series of appropriative discourses concerning regions beyond Europe, put into practice by German romantic explorers of the time. In this fashion, this essay proposes a reoriented interpretation of these artists and their work, challenging the prevalent idea that the development of romantic landscape painting in South America was almost entirely determined by European aesthetic trends such as the sublime and the picturesque.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133310437","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: Neoclásicos: Edgar Negret y Eduardo Ramírez Villamizar entre París, Nueva York y Bogotá, 1944–1964, by Ana M. Franco
Latin American and Latinx Visual Culture Pub Date : 2022-07-01 DOI: 10.1525/lavc.2022.4.3.126
M. A. Sullivan
{"title":"Review: Neoclásicos: Edgar Negret y Eduardo Ramírez Villamizar entre París, Nueva York y Bogotá, 1944–1964, by Ana M. Franco","authors":"M. A. Sullivan","doi":"10.1525/lavc.2022.4.3.126","DOIUrl":"https://doi.org/10.1525/lavc.2022.4.3.126","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114556547","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
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