Documents of Latin American and Latino Art

In this essay, Tadeu Chiarelli analyzes Brazil art from the eighties and nineties, specifically production that involves three-dimensional space (sculpture, objects, or installation). He draws ties between those decades and the experimental tradition [...]

This is the catalogue for the exhibition commemorating the fifteenth anniversary of the Casa Triângulo. Organized by Maria Izabel Branco Ribeiro, the exhibition presented the history of the gallery during that time, introducing those young artists [...]

This is Tadeu Chiarelli’s critical text on the paintings created by Mônica Nador, written as the introduction to an exhibition by this Brazilian artist at the Luisa Strina gallery (São Paulo) in 1994. According to Chiarelli, these paintings are [...]

This text by Tadeu Chiarelli discusses the work of Edgard de Souza. According to the critic, de Souza takes to the limit the Dada tradition. The themes he addresses include mass media images, and he represents objects that vacillate between greed and [...]

In the view of Tadeu Chiarelli, Jac Leirner’s art eludes any attempt at generic classification or positivist catalogization. The Brazilian artist works in series, removing objects from the flow of consumer goods until they are captured or grasped. [...]

This text was written by the Brazilian art critic and professor Tadeu Chiarelli about the exhibition Lusco Fusco (1993), by the São Paulo artist Caetano de Almeida, at the Luisa Strina gallery in that city. The writer observes that Caetano de [...]

In this text, art critic Tadeu Chiarelli presents Apropriações, the show that he organized at the Paço das Artes in São Paulo in 1990. Chiarelli discusses the ties between the art object and the real, and reflects on the role of the former in [...]

In this text, Tadeu Chiarelli examines the meaning of printmaking in contemporary art. It adds nothing on a technical level, he argues, and—as the medium used for the reproduction of images in post-industrial society—it is brought into the sphere [...]

With this text, Tadeu Chiarelli presents a show of work by Cláudio Mubarac. He observes how metal engraving becomes a process of self-knowledge in the hands of an artist influenced—in Chiarelli’s view—by Evandro Carlos Jardim. Printmaking and [...]

In this introductory essay to Nazareth Pacheco’s 1997exhibition at the Galeria Valú Ória, Tadeu Chiarelli reviews the artist’s career since her first exhibitions at the start of the decade. Chiarelli emphasizes Pacheco’s internal [...]

This essay is on the production of contemporary Brazilian photography that marked the first half of the twentieth century in Brazil as a continuation of artistic modernism and its ties to issues of identity as the register of the human landscape [...]

This essay is an analysis of current photography in Brazil that finds its production vigorous and diverse with a historical basis that brings to light its maturity. The author, Tadeu Chiarelli, begins the study with the most successful trio of [...]

This essay states that Brazilian photography was usually seen through an anthropological lens and analyzed as a form of purely autonomous expression; it is now being examined in this text as a process for seeking identity and for an establishment of [...]

Tadeu Chiarelli sees “the quote” as one of the defining features of contemporary art, taken from visual systems and inspired by a vast array of images and preexisting artistic procedures. He scours his sources, noting the role played by [...]

According to Tadeu Chiarelli, contemporary international art has moved away from personal expression and embraced an industrial aesthetic. This is the result of a serial, modular logic that rejects any attempt to stress the physical and chemical [...]

In this review of Emmanuel Nassar’s work, Tadeu Chiarelli discusses the paintings the artist produced in the mid-1980s, in which he detects an attraction to the widespread erudite Constructivist tradition coupled with a certain discomfort, [...]

Ever since the academic romanticism of the nineteenth century, Brazilian artists had longed to create a “national (Brazilian) art,” a goal that at times had hampered their creative development. The painters Giovanni Castagneto, Oswaldo [...]