It’s said that in conversation what speaks is what’s common, taking its place among that which is always at stake. Criticism and Politics seeks to stage the commonality of criticism. It demands a continuous exercise of confronting the present in which the word and the body that pronounces it are knotted together.
Following the format of conversation, letting itself be guided by the interplay of questions and answers, of placements and displacements, this book seeks to make apparent Nelly Richard’s thoughts on the areas of her work that have made her body of criticism one of the most important in Latin America.
Divided into four chapters, the book successively addresses the state of criticism, feminism, art, and politics in the neoliberal landscape of Chilean society. At the same time, while the present is questioned through an active practice of thought, Criticism and Politics can be considered an astounding exposition of the seasons and routes that Nelly Richard’s work has traversed up to the present day.
The article is included in: A Companion to Modern and Contemporary Latin American and Latino Art, (Eds.) Leonardo Anreus, Robin Greeley and Megan Sullivan
Wiley-Blackwell, Boston, MA
This collection of critical essays examines distinctive moments of the Americas Society’s visual art program and its impact on the formation of a Latin American market in the United States. Founded in 1965, the Americas Society has played a pivotal role in Latin American art, from Pre-Colombian to modernism.
The book brings together a cross-cultural group of art historians and curators, including Alexander Alberro, Alexander Apóstol, Beverly Adams, Cecilia Brunson, Luis Camnitzer, Thomas Cummins, Andrea Giunta, Nicolás Guagnini, Paulo Herkenhoff, Anna Indych-López, Luís Pérez Oramas, John Pruitt, Mary Scheider Enriquez, and Sofía Sanabrais, who discuss the relevance of the institution’s intricate relationships with art, economics, and politics.
Essays address the emergence of site-specific practices such as Gego’s Reticulárea and neo-avant-garde manifestations such as the Fashion Show Poetry Event conceived by E. Costa, J. Perrault, and H. Wiener; Marta Minujin’s happenings; Michael Snow’s photographs; David Siqueiros’ monographic show; and the notion of landscape in the Western Hemisphere, among other significant topics. A Principality of Its Own explores the achievements, frictions, and experiments that modeled the institution from the Cold War to the present.
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Latin American under-development has been fundamentally determined by a political economy syndrome of clientelism and state weakness which inhibits the provision of basic public goods. What are the origins of this equilibrium, reasons for its persistence, and possible ways out?
Universidad de Chile, Facultad de Artes, Departamento de Artes Visuales. No 02, Santiago de Chile, Chile
August 2019
Cultural Agents Reloaded: The Legacy of Antanas Mockus systematically reflects on the practices and legacy of one exceptional cultural agent Antanas Mockus. His accomplishments as twice mayor of Bogotá, Colombia bear witness to the potential of creative, symbolic practices as a trigger for social change. His failures, in turn, demonstrate what happens when cultural agency and epistemic legitimacy take divergent paths.
Mockus’s example motivates us to further revise and sharpen our understanding of what cultural agency is in the present day, bringing into focus some of the most formidable challenges that public humanities face when they travel South and struggle to become genuinely global.
In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present
A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements.
By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include:
With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.
The Other Latinos addresses an important topic: the presence in the United States of Latin American and Caribbean immigrants from countries other than Mexico, Cuba, and Puerto Rico. Focusing on the Andes, Central America, and Brazil, the book brings together essays by a number of accomplished scholars.
Michael Jones-Correa’s chapter is a lucid study of the complex issues in posing “established” and “other,” and “old” and “new” in the discussion of Latino immigrant groups. Helen B. Marrow follows with general observations that bring out the many facets of race, ethnicity, and identity. Claret Vargas analyzes the poetry of Eduardo Mitre, followed by Edmundo Paz Soldán’s reflections on Bolivians’ “obsessive signs of identity.” Nestor Rodriguez discusses the tensions between Mexican and Central American immigrants, while Arturo Arias’s piece on Central Americans moves brilliantly between the literary (and the cinematic), the historical, and the material. Four Brazilian chapters complete the work.
The editors hope that this introductory work will inspire others to continue these initial inquiries so as to construct a more complete understanding of the realities of Latin American migration into the United States.
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The power of memorialization is widely recognized as a form of symbolic reparation aimed at overcoming deep social divisions in the aftermath of mass violence. Yet memorialization as a juridical tool of repair lacks systematic conceptual elaboration, and its potential remains underutilized. This often results in ineffective, even detrimental monuments, and in programmatic failures to integrate memorial practices into multilayered strategies for justice and social reconciliation. This article explores three case studies from the Inter-American Human Rights System in order to examine the strengths and shortcomings of existing approaches to memorialization. We then offer recommendations for expanding the reparative and transformative capacities of symbolic reparations. We conclude by summarizing our observations on how the fundamentally expressive nature of symbolic reparations provides a potentially powerful tool of repair and transformation.
ART LIFE LAB in conjunction with PALINODIA (Chile) and GEDISA (Spain) announces the publication of La interculturalidad y sus imaginarios: Conversaciones con Néstor García Canclini [Interculturality and its imaginaries. Conversations with Néstor García Canclini], edited by Prof. Robin Greeley during the Guadalajara Book Fair 2018.
The volume is part is of the series “Dialogues” of Palidonia, directed by Prof. Jose Luis Falconi, and concludes a four year effort to produce the most comprehensive set of interviews to famed anthropologist and cultural critic Nestor Garcia Canclini on his distinguished career, his main contributions to the many fields he has worked on, and his legacy for Latin American thought.
Interculturality and its imaginaries. Conversations with Néstor García Canclini has two intertwined objectives: to trace the history and development of García Canclini’s multilevel intellectual effort, and to open it to new ideas and frontiers.
The second in the Conversations collection, the book is part of a series that explores the role of the intellectual in contemporary society through dialogues with influential scholars from Latin America who have assumed that role as a mandate to act as pioneers in new and influential models of critical practice.
This book takes the form of a series of extended dialogues between García Canclini and Robin Greeley, together with colleagues from various disciplines and professions: Alberto Quevedo, Andrea Giunta, George Yúdice, Eduardo Nivón, Juan Villoro, Claudio Lomnitz, and Rossana Reguillo.
Published by SITE Santa Fe on occasion of the inaugural SITElines Biennial, Unsettled Landscapes.
Unsettled Landscapes was curated by Janet Dees, Irene Hofmann, Candice Hopkins, and Lucía Sanromán. The exhibition, featuring 47 artists from 14 countries, looks at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas – from Nunavut to Tierra del Fuego. Through three themes – landscape, territory, and trade – this exhibition expresses the interconnections among representations of the land, movement across the land, and economies and resources derived from the land.
Edited by Lucy Flint, Foreword by Irene Hofmann, Introductory Essay by Janet Dees and Irene Hofmann, Catalogue Essay by Candice Hopkins and Lucía Sanromán, Additional essays by José Falconi, Richard William Hill, Lucy R. Lippard, and Matthew J. Martinez, Contributions by Christopher Cozier, Julieta González, Eva Grinstein, and Kitty Scott.
In collaboration with Martín Oyata