Documents of Latin American and Latino Art

This newsletter announces the opening of an exhibition of works by the North American artist Douglas Davis, who will present his silkscreen prints and videotapes at the CAYC in Buenos Aires. The newsletter includes an essay by David Ross, an academic [...]

This is the English version of the newsletter that announces the Deuxième rencontre internationale ouverte de video (Second International Open Conference on Video) in France. The event took place from February 20–25, 1975, at the Espace [...]

This newsletter, which is written in French, announces the Deuxième rencontre internationale ouverte de video (Second International Open Conference on Video), which the CAYC attended. The event took place from February 20–25, 1975, at [...]

This newsletter, written in English, announces the IV Encuentro Internacional de Video organized by the CAYC at its center in Buenos Aires. Argentina was the first non-European country to promote this event, which had previously been staged in [...]

This newsletter includes a copy of a text in which the artist Janos Urban introduces his works on videotape, which were shown at the CAYC. Urban was one of the pioneers in the field of Conceptualism in the Swiss art scene [...]

This newsletter announces the dates for the “Festival de formatos no comerciales” (Noncommercial Format Festival) to be held at the CAYC and provides a list of the videos included in the “C Series,” which were produced by [...]

A list of the videotapes by the U.S. American artist Dennis Oppenheim that were shown at the CAYC from August to September 1971. The exhibition referred to was announced in newsletter GT-67 (1476300). Each work is identified by title, support, length [...]

In this unpublished article, created as a PDF, the Uruguayan video-artist Fernando Álvarez Cozzi discusses the origins of video-art in Uruguay, the form’s current situation (in 2008), and certain theoretical aspects of the poetic dimension of an [...]

Researcher Ana de Azcárate analyzes the art of Sandra Vivas from her early production through 2004. De Azcárate points out constants in Vivas’s work, such as feminism and machismo, the use of her own body in performances and in videos, and the [...]

The text “‘Biogenesis’ (…)” by critic Carolina Ponce de León was featured in the catalogue to the exhibition BIO*. *As in ‘Biography’, ‘Biology’, ‘Biogenesis,’ held at the Colombian Center in New York (1996). In it, Ponce de Le [...]

“Potencias in potencias” is one of the texts that make up the catalogue for the first Experimenta Colombia, Festival Latinoamericano de Artes Electrónicas, held at the Biblioteca Luis Ángel Arango in Bogotá and the Centro Colombo-Americano of [...]

The Colombian publicist and photographer Carlos Duque interviews Karen Lamassonne, the versatile young artist who has worked in the fields of painting, printmaking, the movies, and video art. During the course of the interview, Duque enquires about [...]

This article refers to the work of the video artist and TV/film producer, Rodrigo Castaño, shown at the IV Salón Atenas at the Museo de Arte Moderno of Bogotá, in October 1978. Castaño’s work consists of three videos: Autorretrato (1978); [...]

In the interview conducted by the Colombian journal Vice Versa, Juan Fernando Mejía and Wilson Díaz have the opportunity to talk about their artistic beginnings, joint projects, and themes that interest them. They also discuss the [...]

Aproximación a una historia del videoarte en Colombia is one of the links on the website http://bitio.net/vac Historia del Videoarte en Colombia, a research project by video artist and professor Gilles Charalambos Bruyère that provides, free of [...]

Art critic and curator Fernando Cocchiarale argues that the expansion of the visual arts into other fields has implied greater distance from the traditions of which it formed part. The inclusion of time and space in art became an important mark of [...]

Here Fernando Cocchiarale discusses how the fields of contemporary art have overflowed past their previous boundaries, going beyond painting, sculpture, printmaking, and drawing; he cites collage and photomontage in the early twentieth century as [...]

In this text, Arlindo Machado analyzes the characteristics of the technological image, from the invention of photography to the computer and from Renaissance perspective to the synthesis of computer-generated images. Machado argues that in [...]

In this interview, Professor Walter Zanini assesses his role supporting artistic expressions that make use of the new media during his tenure as director of the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP). Even during a [...]

In this text, prestigious art critic Frederico Morais openly questions “video art.” He argues that it is not, in fact, a product of the art/technology pair, but rather of the idea of making culture portable thanks to low costs and ease of [...]

Arlindo Machado’s point of departure in this text is that noise, rather than signals, is the basis of writing in video. Grids of lines and dots are laid out on a surface, but when an electrical current is applied the figures are manipulated and [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

The synopsis in English are coming soon [...]

In this text, Bia Medeiros observes that “telepresence” implies presence in real, or almost real, time which is measured by means of technology (video or computer). Medeiros explains that the form of telepresence that Corpos Informá [...]

In this text, Bia Medeiros provides an account of the video performance that Corpos Informáticos, the experimental research group she leads, carried out at the X Congresso da Anpap held in 1996. The group, which was formed in 1992, focuses on [...]

In this essay, artist and curator Lucas Bambozzi analyzes the development of video production from Brazil starting in the eighties. Bambozzi argues that although promising video artists emerged in Brazil in the late seventies, the eighties will be [...]

In this text, Arlindo Machado addresses the beginnings of video art in Brazil, placing emphasis on those artists that challenge a dated figurative approach by distorting the image of a supposed reality. He believes that the historical role of video [...]

In this 1983 essay, published in a book in 2006, Arlindo Machado describes videotext. Videotext preceded the Internet and, for the first time, “connectivity” and “interactivity” were available on public networks. The first [...]

This essay is a brief history of how independent video developed in Brazil. Arlindo Machado highlights the role played by the renewal of open-signal television language. He notes that video emerged in the 1980s, at a time when Brazilian [...]

In this article, the author claims that the emergence of video art prompted a reversal of figurative expectations in the field of technical images. Heavily influenced by a Renaissance approach to visual expression (based on a monocular geometric [...]

This text was written by Arlindo Machado and Julio Plaza to be published in the catalogue for Artecnologia, the exhibition that the two authors co-curated and presented on September 2-9, 1985 at the Museu de Arte Contemporânea de São Paulo – [...]

The graphic artist Julio Plaza claims that all forms of cultural expression are supported by a technique; based on that premise, he briefly outlines the development of the concepts involved in the production of images. He refers in particular to the [...]

In this review, Ligia Canongia discusses the various exhibitions of work by Brazilian artists that were being shown in Italy at that time, in the early 1980s. The art critic notes the increasing use of mass media in international art since the 1970s [...]

In this essay, José Ignacio Roca describes the theoretical guidelines he observed while curating Face Value (2002) and discusses the videos produced by nine contemporary Colombian artists that he included in his project for the Latin American [...]

In this article, the critic José Hernán Aguilar discusses an important date in Colombian history: April 9, 1948, the day when the political leader Jorge Eliécer Gaitán died, an event commonly referred to as El Bogotazo. Aguilar mentions the [...]

This article, which was published in the Revista Arte en Colombia [Art in Colombia Magazine] in 1981, discusses the Peruvian critic Juan Acha’s interest in the potential of video as an artistic medium. After reviewing video’s technical aspects, [...]

In this article, the critic Roberto Guevara discusses the origins and emergence of new languages in contemporary art, which he groups under the heading of “conceptual art.” He mentions a number of examples, such as happenings, installations, and [...]

In 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 [...]

This document includes three texts, each one written from a different perspective. The first is Lynda Kahn’s very short review of The Laughing Alligator, the video by Juan Downey, the Chilean artist who lived in New York. The second is a [...]

In this poetic, thoughtful essay, Juan Downey discusses his ideas about decadence based on a description of conditions and feelings. Downey, the Chilean artist who lived in New York City, explains that, from a third-world perspective, the decline of [...]

This is Lotty Rosenfeld’s written commentary on her video-performance Proposiciones para (entre) cruzar espacios límites [Proposals for Intertwining/crossing Borderlands], which refers to the two frontiers involved in her project. First [...]

This is Lotty Rosenfeld’s written commentary on her video Una herida Americana [An American Wound]. She refers to the three interventions she performed, two of which involved painting crosses on roads. The first of the latter two took place in [...]

In this text Diamela Eltit and Lotty Rosenfeld explain the role of video in their work. They started working with video in 1979, using it to record ephemeral actions, and describe it as a “memory.” They discuss ways in which this tool [...]

This text written by members of the C.A.D.A (Colectivo Acciones de Arte) explains how the group approached video in two different ways, using it to document their actions and to create new works. The text underscores how video—which can be [...]