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El caso "Simón Bolívar" : o el arte como zona de disturbios
1994In this essay “El caso Simón Bolívar o el arte como zona de disturbios” (The Simón Bolívar Case, or Art as a Site of Civil Unrest), Nelly Richard addresses the outrage expressed in the Santiago press and by the general [...]ICAA Record ID: 756001 -
La puesta en escena internacional del arte latinoamericano: Montaje, representación.
1994The essay “La puesta en escena internacional del arte latinoamericano: montaje, representaciones” [The International Staging of Latin American Art: Assembly, Presentations], by the French-Chilean cultural critic Nelly Richard, is in the archives [...]ICAA Record ID: 755084 -
Destrucción, reconstrucción y desconstrucciones
1987In “Destrucción, reconstrucción y desconstrucciones” (Destruction, Reconstruction, and Deconstructions), Nelly Richard critically reviews the cultural situation in Chile during the military dictatorship (1973–90). It was, in her [...]ICAA Record ID: 754460 -
La esquina como juntura y desencuadre = The corner : coupling and defocus
2004The author, Nelly Richard, suggests an analogy between Galería Metropolitana’s location in an outlying area of the city (Comuna Pedro Aguirre Cerda in Santiago) and its editorial approach. She uses symbolic opposites, such as center and [...]ICAA Record ID: 753579 -
Contra el pensamiento-teorema: Una defensa del video arte en Chile
1986In this article, which appeared in the sixth catalogue for the Festival Franco-Chileno de Video Arte (1986), Nelly Richard discusses how video was used for artistic purposes in Chile. From a theoretical standpoint, she explores the experimental use [...]ICAA Record ID: 748696 -
Chile : bordes, límites, fronteras
1996Nelly Richard discusses the work of the following Chilean photographers: Gonzalo Díaz, Eduardo Vilches, Alicia Villarreal, Enrique Zamudio, and Alfredo Jaar. Richard explains how each of these artists uses and contextualizes photography, and [...]ICAA Record ID: 748031 -
The rhetoric of the body=Las retóricas del cuerpo
1986Nelly Richard discusses the use of the human body as a support for a work of art. She refers to two art actions beginning in 1975. One of them was El perchero by Carlos Leppe; in the other, Raúl Zurita burned his face, photographed it, and [...]ICAA Record ID: 744815 -
Return to the pleasurable=La vuelta a lo placentero
1986Nelly Richard focuses on a number of artists as part of her assessment of the status of painting in Chile during the 1970s and 1980s. She discusses a selection of works by a group of artists who take a critical approach to the painting tradition, [...]ICAA Record ID: 743686 -
Trama urbana y fugas utópicas
1999In her essay “Trama urbana y fugas utópicas” (Urban Fabric and Utopian Flights), Nelly Richard discusses CADA (Colectivo Acciones de Arte) two decades after the group launched its program of urban actions in Santiago. She describes the [...]ICAA Record ID: 740281 -
Introduction=Introducción
1986This is Nelly Richard’s “Introduction” to her book Margins and Institutions. Art in Chile Since 1973, in which she outlines the concept of the Escena de Avanzada. The “advanced scene” flourished in an unofficial sector [...]ICAA Record ID: 738523 -
Tú, lector
In this essay Nelly Richard discusses the connection between writing and the reader, the implicit recipient of a text. In this review of the reader, she takes a sociological approach in describing and assessing the target of a text; counter to that [...]ICAA Record ID: 738161 -
Sobre arte y política(s) : contraoficialidad, poder y lenguajes
1989In her essay “Sobre arte y política(s): contraoficialidad, poder y lenguajes,” written for the exhibition catalogue Cirugía plástica (Plastic Surgery), Nelly Richard reflects on the socio-political and [...]ICAA Record ID: 736073 -
Roturas, memoria y discontinuidades (homenaje a W. Benjamin)
1994In this text Nelly Richard identifies some of Walter Benjamin’s ideas that, in her opinion, are relevant to works produced in Chile during the military dictatorship (1973–90) and the start of what was known as the “democratic [...]ICAA Record ID: 736059 -
Una cita limítrofe entre neovanguardia y postvanguardia
1994Nelly Richard discusses C.A.D.A. (Colectivo Acciones de Arte), taking a critical look at the art action group’s relationship to what she called the Escena de Avanzada, a name she coined based on the group’s strategies [...]ICAA Record ID: 736055 -
Dobleces y plegaduras
1985Nelly Richard writes about Eugenio Dittborn’s airmail paintings, discussing the folds and marks that are created as they travel through the postal system and what they mean. In her opinion, these “production marks” should be [...]ICAA Record ID: 735222 -
Chile en la XII Bienal de París
1983In her essay Chile en la XII Bienal de París (Chile at the Twelfth Paris Biennial), Nelly Richard compares the history of Latin American art to the history of art (in its most visible European and North American versions) on the occasion of [...]ICAA Record ID: 734895 -
Love o la cita infectada
1988In her review of Love, a 1988 painting by Juan Domingo Dávila, Nelly Richard refers to ideas she had previously explored in La cita amorosa, jointly published with the artist a few years earlier. Harking back to that publication allows the [...]ICAA Record ID: 734844 -
Carlos Leppe : nota sobre la obra de Leppe : el juego de lo citado y de lo citante
1985Nelly Richard addresses three different points in her review of Carlos Leppe’s work. She begins by noting his embrace of international art referents, highlighting his exclusion on the grounds of “being Latin American.” In her [...]ICAA Record ID: 734807 -
Eugenio Dittborn: doblemente geográfica. A propósito de la pintura postal de Eugenio Dittborn
1985Nelly Richard discusses the artistic aspects of the genre of works by Eugenio Dittborn known as Pintura aeropostal (Airmail Painting). Rather than focusing on a particular work, Richard contemplates the artist’s process and its effects. While [...]ICAA Record ID: 734740 -
Intertexto
1985This text by Nelly Richard is based on a collection of quotes, which trace an argumentative arc that express her ideas about the exhibition she is reviewing. She also discusses certain situations in the art field at the time that show how the first [...]ICAA Record ID: 734686 -
Una resta de sentido
1986In this essay, Nelly Richard discusses some of the “art actions” that Lotty Rosenfeld—a member of the art action group known as CADA—created on public roads and highways in Chile. Rosenfeld altered traffic signage and lines on [...]ICAA Record ID: 734543 -
Culturas latinoamericanas : ¿culturas de la repetición o culturas de la diferencia?
1983Nelly Richard ponders the state of contemporary art in Latin American cultures, both in terms of its circulation and regarding its frame of references. She wonders whether international themes and subjects are repeated at a local level or whether new [...]ICAA Record ID: 732082 -
Los descontroles del sentido
1983In this text Nelly Richard offers a diagnostic on feminism in Chile and its connections to social sciences and art. The author refers to a Feminism (with a capital F) that developed in the social sciences, which became the predominant discourse and [...]ICAA Record ID: 732038 -
"La pintura en Chile" de Galaz e Ivelic : una instancia redefinitoria para el arte chileno
1981This is Nelly Richard’s critical review of La pintura en Chile: desde la Colonia hasta 1981 (Painting in Chile: From the Colonial Period to 1981), the book cowritten by Milán Ivelic and Gaspar Galaz. Richard takes issue with a number of [...]ICAA Record ID: 731869 -
Texto de Nelly Richard sobre 'Tránsito suspendido'
1981In this essay, Nelly Richard discusses Carlos Altamirano’s exhibition, Tránsito suspendido. The text includes aphorisms that refer to the organizing structure of the review. It also takes an experimental approach by alternating words in [...]ICAA Record ID: 731751 -
Reivindicación de la sentimentalidad como discurso
1982Nelly Richard discusses Gonzalo Díaz’s painting, which she sees as an example of a revitalizing trend in Chilean visual arts that, in her opinion, had been waning in recent art exhibitions during that time. Richard claims that Dí [...]ICAA Record ID: 731548 -
Inversión de escena
1983In this text the cultural critic Nelly Richard poses two questions: What strategy is being used? And what is the policy as regards to a cultural approach? Richard’s questions inform her analysis of the ideas underpinning the Provincia señ [...]ICAA Record ID: 731376 -
El arte en Chile : una historia que se recita, otra que se construye
1979In the document El arte en Chile: una historia que se recita, otra que se construye (Art in Chile: One Historical Account That Is Recited, Another That Is Constructed), Nelly Richard discusses the historical skullduggery involved in that particular [...]ICAA Record ID: 730164 -
Retroactivaciones de un proceso
1983In this essay Nelly Richard addresses the new approach to painting taken by some artists in response to what she referred to as the Escena de Avanzada. In her review of the BENMAYOR/DIAZ/DITTBORN/DUCLOS/LEPPE exhibition, Richard discusses the [...]ICAA Record ID: 730159 -
Cuerpo sin alma : acerca del mecanismo de la cita en el materialismo pictórico de Juan Dávila
1983Nelly Richard writes about Juan Domingo Dávila’s paintings, which rely on quotes, referring to the concept of “bodies” in each of the nine sections in the text. Richard explains how quotes can dismantle the whole and, with it [...]ICAA Record ID: 730158 -
Una mirada sobre el arte en Chile
1981In a series of eight notes, Nelly Richard discusses Chilean artworks and the artists who produced them during the late 1970s. Her use of “notes” indicates that she does not intend to present a uniform view of cultural projects or an all- [...]ICAA Record ID: 730121 -
Desde el andén
1983Nelly Richard discusses the background that inspired the works that Francisco Brugnoli and Virginia Errázuriz presented at the Paisaje / Brugnoli / Errázuriz exhibition. Richard analyzes the works and notes that, despite the artists& [...]ICAA Record ID: 729866