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Catalog of an exhibition held at the MIT List Visual Arts Center, Cambridge, Mass., May 5-July 12, 2011; Arizona State University Art Museum Herberger Institute for Design and the Arts, Tempe, Ariz., Sept. 24-Dec. 31, 2011, and the Bronx Museum of the Arts, Bronx, N.Y., Feb. 12-May 20, 2012.
Chilean artist Juan Downey (1940-93) was a pioneer in the fields of video art, interactive art, anthropology, architecture and cybernetics. In 1965 he moved to Washington, DC, and in 1969 to New York. The largest monograph yet published, this book features 422 works, with an emphasis on the relations between humankind and technology.
Radiant Nature contributes substantial new scholarship on the early work of Chilean artist Juan Downey (1940-93) through the exploration of works made between 1967 and 1975: interactive sculptures (1967-71); happenings and performances (1968-75); and the Life Cycle Installations (1970-71). Key themes addressed here include the interaction between technology, aesthetics and the body as a means to forge more horizontal forms of participation and more ethical ways to interact with the environment.
The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations-from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.