Documents of Latin American and Latino Art

This essay was written by Jorge Glusberg, the Argentine curator and art critic, as the introduction to the catalogue for the I Bienal Internacional de Video-Arte [First International Biennial of Video Art] that was organized by the Museo de Arte [...]

Argentinean writer, publisher, curator, and professor, Jorge Glusberg presented this article in 1978 at the Latin American symposium Arte Argentino 78. In the article, he explains that the study of semiotics has led to a new understanding of the [...]

In his paper, Argentinean critic Jorge Glusberg provisionally applies the term “Latin American art,” although he considers it inadequate to define the parameters in which the “regional Latin American rhetoric” plays out. It is an analysis [...]

The curatorial message of this exhibition is that the cultural patronage and aesthetic rejection of Latin American art (as a whole) no longer apply. As a historical-cultural construct, Latin America is an amalgam. The cultural miscegenation that took [...]

Jorge Glusberg, founder of the Centro de Arte y Comunicación [Center for Art and Communication] (CAyC in Buenos Aires), says that “there is no such thing as a Latin American art but there is a common set of challenges that creates an identity.” [...]

Jorge Glusberg signed this text about Trans-Vanguard painting in Latin America, mentioning its expressive tradition, its formal precedents, stylistic characteristics, as well as contradictions and originality [...]

Jorge Glusberg authors this text about postfiguration, mentioningthe precedents of this aesthetic viewpoint, along with other historical movements. Moreover, the theoretical aspects of representation, reality, and appearances are analyzed [...]

Jorge Glusberg’s open letter clarifies that, when Francisco Matarazzo invited him to organize “Arte como Idea [Art as an Idea” and “Arte Cibernético [Cybernetic Art]” at the Eleventh São Paulo Biennial (1971), he had some initial doubts [...]

Jorge Glusberg introduces the exhibition by Osvaldo Romberg (Galería Rubbers, Buenos Aires, September 1967); he points out that, in that same year, the artist won the Gran Premio de Grabado [Grand Prize for Engraving] at the National Salon.  [...]

Jorge Glusberg writes that today’s artist brings forth “meta-creations,” on one side, and on the other, that his attitude must be of rebellion against society. He explains Lea Lublin’s previous works of art side by side her current ones, [...]

The text presents the objective of the exhibition CAyC al Aire Libre o Arte e Ideología, CAyC al Aire Libre [CAyC in the Open Air or Art and Ideology, CAyC in the Open Air] (Buenos Aires, Plaza Roberto Arlt). It meant to generate an encounter, that [...]

This article—a summary of Tucumán Arde [Tucumán is Burning] when it was still in the process of being realized—is of interest because it identifies the work as belonging to “Arte y comunicación de masas” [Art and mass communications], [...]

The text discusses the work method of the Grupo de los Trece [Group of Thirteen] in relation to its constitution. As the coordinator of the group, David Cooper analyzes, on the one hand, the internal problems of the group, “las ansiedades de cada [...]

Jorge Glusberg defines the artist as a modeler of everyday reality, as the “creador de nuevos entornos” [“creator of new environments”], as the “humanizador de la geometría” [“humanizer of geometry”], as “responsible por la [...]

Through different authors, Jorge Glusberg defines the concept of ideology in order to relate it to the reality of Latin American art: “En los países ideológicamente sometidos por las metrópolis y económicamente [...]

Glusberg’s article describes (with a few inaccuracies) Tucumán Arde [Tucumán Is Burning] (1968), the landmark artwork/event produced by the avant-garde of Rosario, Argentina, during the period spanning 1966–68. In terms of the work involved, [...]

Following his visit to Documenta 5 in Kassel, Germany, in 1972, Jorge Glusberg gave an interview in which he discussed the relationship that Argentine art in particular, and Latin American art in general, enjoyed with the hegemonic nations of the [...]

This text describes the goals of the first exhibition held by the Centro de Estudios de Arte y Comunicación [Center for Art and Communication Studies] (CEAC), which were to raise awareness of the avenues of opportunity that new technology was [...]

The text for the exhibition catalog De la figuración al arte de sistemas [From Figuration to Systems Art] (Buenos Aires: CAyC, 1970) describes and analyzes a number of works by Edgardo Antonio Vigo and also discusses his creative making. According [...]

The author describes and analyzes various works by Luis [Fernando] Benedit in support of his characterization of the artist’s work as an example of social research. The traditional idea of what is considered artistic—a concept that focuses on a [...]

This is a brief biography of the artist Nicolás García-Uriburu, which includes a list of his prizes, exhibitions, and personal information. The document analyzes the nature and evolution of his work—his style, the various influences that had an [...]

This is an explanation of the meaning of the exhibition’s title, Arte en Cambio [In Exchange for Art] (Buenos Aires: Centro de Arte y Comunicación [Art and Communication Center], June 1973). According to Glusberg, what the title essentially refers [...]

The text announces the Arte conceptual [Conceptual Art] exhibition (Buenos Aires: Centro de Arte y Comunicación [Art and Communication Center], December 1970) organized by Lucy Lippard and Jorge Glusberg. There is a description of Conceptual Art, [...]

This text suggests that although there is no “Latin American art” as such — that is, art produced by Latin American nations — these countries certainly share a number of “common problems” in terms of the social and political reality of [...]

The text outlines the goals and the nature of the exhibition and describes the various proposals involved. Glusberg emphasizes that it is “the first in a series of incipient events and does not pretend to be about finished products.” He refers to [...]