Documents of Latin American and Latino Art

The presentation of the Premio Torcuato Di Tella 1964, written by the French critic Pierre Restany, states that art should be de-mystified. In his judgment, the divorce between art and myth was emphasized during the Renaissance and easel painting, [...]

The members of the jury assigned to participate in the 1964 Instituto Torcuato Di Tella Prize, Jorge Romero Brest, Clement Greenberg, and Pierre Restany have decided to grant the International Prize to Kenneth Noland, and also recommended the [...]

The jury appointed to judge the 1964 Premio Instituto Torcuato Di Tella [Torcuato Di Tella Institute Prize]—whose members included the critics Jorge Romero Brest (Argentina), Clement Greenberg (United States), and Pierre Restany (France)—decided [...]

The question asked by French art critic Pierre Restany in this article is this: how is the political and general cultural context of the 1990s, characterized by the double presidential mandate of Carlos Saúl Menem, related to artistic productions? [...]

Pierre Restany introduces the exhibition of works by Antonio Dias, making a clear distinction between this artist’s generation and the one that came before him, and identifying this one’s confident optimism and innovative approach coupled with an [...]

During his visit to Brazil, the French art critic Pierre Restany notices that “the complex Brazilian reality” is reflected in “the small world of art,” to the point of expressing a certain “cultural confusion” (over and above questions of [...]

The French critic Pierre Restany suggests that art criticism springs from the rebirth of an art based on modern technology, the expressive freedom of the artist, and the use of a new language that increasingly encourages a simplification of forms, [...]

On the occasion of the publication of the book Mene Digital (1993), financed by the IBM Corporation of Venezuela, Pierre Restany writes on the work of the Venezuelan artist Rolando Peña. The French critic begins with a reflection on Neoprimitivism, [...]

This manifesto was written by the French critic Pierre Restany in 1978 in which he claims that nature represents mankind’s conscience and sensibility. Total naturalism recognizes only the purifying, cathartic power of fantasy in the service of [...]

In 1978, the French art critic Pierre Restany drafted a manifesto along with two artists, the Brazilian (born in Poland) Frans Krajcberg, and the Yugoslav based in Brazil Sepp Baendereck. The text is a rallying call in defense of art that is “ [...]

Pierre Restany writes that Lea Lublin’s work Fluvio Subtunal [Sub-Tunnel Flow] (1969) is a systematic work about the structures of psycho-sensorial communication. Restany explains the development of Lublin’s production as a research into visual [...]