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Account of the rise of modernism in the art of Latin America, published to accompany the exhibition Latin American Artists of the Twentieth Century at The Museum of Modern Art, New York.
An exhibition of 26 contemporary Cuban artists such as Agustín Bejarano, Belkis Ayón, Eduardo Roca Choco, Flora Fong, Alexis Leyva Kcho, Eduardo Ponjuán, Roberto Fabelo, Los Carpinteros, Roberto Diago, Zaida del Río and others reflect in their artistic creations the plurality in art in Cuba and the country's introduction into the comercial art world. The exhibition curated by Juan Delgado, was part of the cultural events of the Festival Internacional de Música held in Morelia, Michoacán, a music event dedicated to Cuba.
Marin's (b. Mexico 1962) exhibition of fragmented bronze, resin and clay (plastilin) nude bodies sculptures that capture amazing postures and gestures, a reflection of his skillful representation of the human anatomy. Although inspired in the classic period and the Renaissance, the artist innovates his work experimenting with photography and various organic elements like: wax, seeds, wood and dirt to create figures that become metaphors and distorted images of the world's pain and injuries.
Facsimile edition with additional texts and notes gathers a selection of articles and the complete indexes of the issues of this now historic art serial published between 1973 and 1981 (No. 29 plus special edition época nueva). Those were the years that Fernando Gamboa was the director of the museum. Gamboa contributed in the establishment of "Artes Visuales" as one of the most important art publications in the second half of the 20th century. It was a cutting-edge proposal that served as the organ for the museum.
Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe? Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.