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Shortlisted for the 2020 Association for the Study of the Arts of the Present Book Prize​ Winner of the 2019 Art Journal Prize from the College Art Association What is the role of pleasure and pain in the politics of art? In Touched Bodies, Mara Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy. Based on original documents and innovative readings, her book brings politics and ethics to the discussion of artistic developments during the “long 1980s”. She describes the rise of performance art in the context of feminism, HIV-activism, and human right movements, taking a close look at the work of Diamela Eltit and Raúl Zurita from Chile, León Ferrari and Liliana Maresca from Argentina, and Marcos Kurtycz, the No Grupo art collective, and Proceso Pentágono from Mexico. The comparative study of the work of these artists attests to a performative turn in Latin American art during the 1980s that, like photography and film before, recast the artistic field as a whole, changing the ways in which we perceive art and understand its role in society.
“Encargos Comunes” se presenta como un proyecto editorial que resume, a partir de tres obras de arquitectura, la práctica e investigación desarrollada por la oficina de arquitectura Taller25 en torno a esta profesión y su vínculo con la clase media contemporánea chilena. Estas obras identifican y visibilizan tres demandas sobre la vivienda: una Construcción nueva, una Reforma y una Ampliación, realizadas en comunas que normalmente se conocen como “Pericentrales” y “Periféricas” de la región Metropolitana (Lo Prado, San Bernardo y Maipú), cuyos mandantes o dueñas/os se inscriben en lo que estadísticamente se define como la clase media, transformándose así en un compendio atípico dentro de la disciplina de la arquitectura. De esta manera, la publicación propone una discusión crítica sobre la producción de la vivienda, y no de cualquier vivienda, sino de las más comunes de todas y, paradójicamente, menos abordadas desde el campo editorial y de divulgación en el área, como pueden ser las operaciones sobre la vivienda de y para los sectores medios.
What if museum critics were challenged to envision their own exhibitions? In Curatorial Dreams, fourteen authors from disciplines throughout the social sciences and humanities propose exhibitions inspired by their research and critical concerns to creatively put theory into practice. Pushing the boundaries of museology, this collection gives rare insight into the process of conceptualizing exhibitions. The contributors offer concrete, innovative projects, each designed for a specific setting in which to translate critical academic theory about society, culture, and history into accessible imagined exhibitions. Spanning Australia, Barbados, Canada, Chile, the Netherlands, Poland, South Africa, Switzerland, and the United States, the exhibitions are staged in museums, scientific institutions, art galleries, and everyday sites. Essays explore political and practical constraints, imaginative freedom, and experiment with critical, participatory, and socially relevant exhibition design. While the deconstructive critique of museums remains relevant, Curatorial Dreams charts new ground, proposing unique modes of engagement that enrich public scholarship and dialogue.
This interdisciplinary volume investigates the cultural and political landscapes of Colombia through citizenship, displacement, local and global cultures, grass-root movements, political activism, human rights, environmentalism, and media productions.
A richly illustrated survey of Alfredo Jaar’s Studies on Happiness (1979–1981) and its deep political stakes in the historical context of Chile’s neoliberal transition. Between 1979 and 1981, Alfredo Jaar asked Chileans a deceptively simple question: "Are you happy?" Through private interviews, sidewalk polls and video-recorded forums, among other interventions, Jaar’s three-year and seven-phase project, Studies on Happiness, addressed a furtive and fearful population living under Augusto Pinochet’s military dictatorship. It also spoke to a country in transition, as a newly adopted constitution remade Chile through privatisation and other neoliberal reforms. In its varied interventions and direct mode of address, Studies on Happiness functioned as a feedback device meant to catalyse a critical awareness with its blunt questioning. Edward A. Vazquez contextualises Studies on Happiness within Jaar’s early production and situates his practice within a Chilean art world haunted by the residues of political violence. This study foregrounds the project’s historical embeddedness and the deep political stakes of its apparent sociality, recognising the crucial role that context has always played in Jaar’s practice. By turning to the Santiago of Studies on Happiness, Vazquez explores the work’s political and art historical environment and provides a wedge to realign current interpretations of Chilean art and hemispheric conceptualism with the openness central to Jaar’s project.
How the approaches and methods of think tanks—including systems theory, operational research, and cybernetics—paved the way for a peculiar genre of midcentury modernism. In Think Tank Aesthetics, Pamela Lee traces the complex encounters between Cold War think tanks and the art of that era. Lee shows how the approaches and methods of think tanks—including systems theory, operations research, and cybernetics—paved the way for a peculiar genre of midcentury modernism and set the terms for contemporary neoliberalism. Lee casts these shadowy institutions as sites of radical creativity and interdisciplinary practice in the service of defense strategy. Describing the distinctive aesthetics that emerged from such institutions as the RAND Corporation, she maps the multiple and overlapping networks that connected nuclear strategists, mathematicians, economists, anthropologists, artists, designers, and art historians. Lee recounts, among other things, the decades-long colloquy between Albert Wohlstetter, a RAND analyst, and his former professor, the famous art historian Meyer Schapiro; the anthropologist Margaret Mead's deployment of innovative visual aids that recall midcentury abstract art; and the combination of cybernetics and modernist design in an “Opsroom” for the short-lived socialist government of Salvador Allende in 1970s Chile (and its restaging many years later as a work of art). Lee suggests that we think of these connections less as disciplinary border crossings than as colonization of the specific interests of arts by the approaches and methods of the sciences. Hearing the echoes of think tank aesthetics in today's pursuit of the interdisciplinary and in academia's science-infused justification of the humanities, Lee wonders what territory has been ceded in a laboratory approach to the arts.
This book argues for a new reading of the political and ethical through the literatures of Argentina, Chile, and Paraguay from 1970-2000. Carlos Amador reads a series of examples from the last dictatorship and the current post-dictatorship period in the Southern Cone, including works by Augusto Roa Bastos, Roberto Bolaño, Ceferino Reato, Horacio Verbitsky, Nelly Richard, Diamela Eltit, and Willy Thayer, with the goal of uncovering the logic behind their conceptions of belonging and rejection. Focusing on theoretical concepts that make possible the formation of any and all communities, this study works towards a vision of literature as essential to the structure of ethics.
Street Art.
On the occasion of the celebrations of the bicentennial anniversary of Chile, and the centennial anniversary of the National Museum of Fine Arts, constructed in 1910 as part of the festivities of the Independence centennial, the MNBA planned a series of exhibitions under the title of Centenario. This beautifully edited recompilation volume comprises the history of the museum MNBA with a descriptive and illustrated catalogue of the 250 most important pieces of its patrimonial collection exhibited in the 7 modules that comprised the program Centenario. Milan Ivelic, director of the MNBA explains: "The objective of this publication is to articulate and organize the symbolic imaginaries that are part of the holdings of the Collection of Chilean Art of the MNBA. What this publication is proposing is the organization in a transversal way of the art pieces selected, without following a linear chronology, thus constructing, in a certain way, a new museographic script. The art pieces have been divided into 7 modules based on a broad criteria that respond to their approximation in languages, topic similarities and shared strategic processes for their elaboration, conceptualizing theory and analysis of the artistic practices, without omitting their own historical context"--P.20. The contents of the catalogue follow the 7 main topic modules of the exhibitions. Major referential work illustrated with full-page color plates.
'Poetics of the handmade' presents the work of eight Latin American artists engaged in the timeless practice of making art by hand. Making use of common objects to create a sense of familiarity for the viewer, these artists' interest in transformation and process has led them to make works that are painstakingly handcrafted from a wide range of materials. They find poetry in the depiction of ordinary objects and powerful resonance in small actions.