Documents of Latin American and Latino Art

The Revista Arte Internacional, published by the Museo de Arte Moderno de Bogotá, dedicated its 15−16 edition to the theme “Latin America: Identity and Art.” In a special entry of the section “Registro,” Javier Gil, the Colombian art [...]

In “Teoría y prácticas no-objetualistas en América Latina” [Non-Objectualist Theory and Practice in Latin America], Juan Acha, the Peruvian art critic who lived in Mexico, explains the basis of his theory concerning [...]

In this lecture, Gustavo Buntinx looks to convince his listeners that the current idea of “Latin American art” is an imperialist construct, and argues that the only solution is for them to reinvent it in its entirety. He begins by declaring that [...]

The curator Ivo Mesquita discusses the concepts and criteria that informed his curatorial process in organizing the Latin American art exhibition Cartographies (Winnipeg Art Gallery, Winnipeg, Canada, 1993). He proposes the concept of “cartography [...]

Justo Pastor Mellado discusses the Escena de Avanzada twenty years after Nelly Richard coined the term. Though it originally had militant undertones, the term evolved into a historical category. It applied to a set of texts and artworks that Richard [...]

Justo Pastor Mellado wrote three interventions for the Seminario de interpretación de la coyuntura plástica. This third “polemical” text ranges from what was taking place in the visual arts field in Chile to what was [...]

Pablo Oyarzún wrote this short essay, Lectura de escena (Reading the Scene), about a book by Nelly Richard in which he identifies four main themes: (1) support for the artistic, poetic, and discursive practices that the Escena de Avanzada [...]

The curator and researcher Alberto Madrid analyzes Historias de identificación (Histories of Identification), housed in one of the rooms at the grand exhibition held at the MNBA in Santiago, Chile, which uses portraits to record presence and [...]

“La crítica de avanzada y algunos de sus efectos: reflexión sobre un libro de Nelly Richard” (Criticism of the Escena de Avanzada and Some of its Effects: Reflections on a Book by Nelly Richard) was written by Adriana Vald& [...]

This is Pablo Oyarzún’s critical review of Nelly Richard’s book Márgenes e Instituciones (Margins and Institutions). He acknowledges her role in the field of Chilean art and her contributions to a new approach to art [...]

Eugenio Dittborn discusses Nelly Richard’s book, Margins and Institutions. Art in Chile Since 1973 (1986), condensing his review into four brief comments. The first considers the text as a “lengthy written work,” which contributes [...]

Adriana Valdés discusses Margins and Institutions. Art in Chile Since 1973, the book by Nelly Richard. Valdés pays particular attention to “the writing scene,” which included Richard as well as others who contributed to the [...]

This article by Francisco Brugnoli is, as the title suggests, about the publication of Nelly Richard’s book Margins and Institutions. Art in Chile Since 1973. The text is divided into three points, which, in turn, are divided into sub-points. [...]

José Joaquín Brunner explains how the authoritarian regime that came into power after the 1973 coup d’état impacted cultural production in its various forms and, more specifically, what was going on in the Escena de [...]

Diamela Eltit discusses Nelly Richard’s assessment of the Escena de Avanzada, explaining that, having been mentioned in Richard’s book, she finds herself in the paradoxical position of being a subject of the work in question as well as [...]

Inspired by the Escena de Avanzada, Fernando Balcells reflects on the concepts of “avant-garde” and “history and art.” This text was written in 1988, almost a decade after those art and experimental practices first emerged and [...]

This article by Adriana Valdés is a continuation of “Escritura y silenciamiento” (Writing and Silencing) published in 1977 in Revista Mensaje, a text that would have been unthinkable at the height of the repression and censorship [...]

In this article, the writer Gonzalo Muñoz discusses the art produced in Santiago, Chile, between 1974 and 1985, which he describes as being highly political and, therefore, very focused on the military dictatorship that was in power at that [...]

Unable to refer specifically to the works that would be shown at the exhibition about which he was attempting to write, Pablo Oyarzún, the Chilean essayist and an authority on philosophy, discusses the idea involved in the term “context& [...]

Miscellaneous articles and references to art in Chile during the Pinochet dictatorship (1973–89). The publication provides quotes from multiple sources, including members of the Chilean art world at the time and their theoretical-literary [...]

As the title implies, this is the response from Milan Ivelic and Gaspar Galaz to the criticisms that appeared following the publication of their jointly written book, La pintura en Chile desde la Colonia hasta 1981 [Painting in Chile from Colonial [...]

This anonymous essay, published in the magazine La Bicicleta in 1979, is a review of the Seminario Arte Actual, an event that was directed by Nelly Richard and organized for the purpose of stimulating an open discussion on the subject of contemporary [...]