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Conversation with Iván Navarro
2012In this interview with Iván Navarro, Julia P. Herzberg poses questions about process and materials, the use of electricity, and art historical influences on his work from the 1990s to the 2000s. Navarro’s Blade Runner series (2004), [...]ICAA Record ID: 1469683 -
Rethinking the Possible
2012Written for Iván Navarro’s midcareer exhibition, this essay explores his early work from the 1990s to the 2000s, enabling us to understand his evolution over time. Growing up in Chile during the Augusto Pinochet regime (1973–90), [...]ICAA Record ID: 1469682 -
Francisca Sutil in conversation with Julia P. Herzberg=Francisca Sutil en conversación con Julia P. Herzberg
2013This art magazine interview between Julia P. Herzberg and Francisca Sutil involves a conversation about the artist’s painting process in general and her recent series Mute (2009), in particular. Sutil explains that prior to initiating [...]ICAA Record ID: 1344151 -
Run Away, Run Away = Huye, Huye
2001This exhibition essay discusses the Chilean artist Catalina Parra’s collages on view in the exhibition Catalina Parra: It’s Indisputable. It includes seven series with seventy works, which comprise collages made of newspaper clippings [...]ICAA Record ID: 1344087 -
El paisaje es como un cuerpo de mujer : conversaciones con Marco Bonta y Mercedes Pardo
1943José Ratto Ciarlo publishes in 1943 his conversation in tandem with the Chilean artist Marco Bontà Costa and Mercedes Pardo during the opening of the exhibition of the former’s Venezuelan landscapes at the Museo de Bellas Artes in [...]ICAA Record ID: 1331724 -
Lo que nos demuestra la Exposición de pintores chilenos : qué es lo que de ellos podemos aprender
1937Regarding the show of Chilean painting on exhibit in Lima, Ricardo Grau states that “it can be calamitous to have an artistic past like Peru’s” since it often serves as a pretext behind which to hide defects or weaknesses. Because no such [...]ICAA Record ID: 1146583 -
Matta y su pintura
1954In this article, Sebastián Salazar Bondy discusses the work of Chilean painter Roberto Matta. In Salazar Bondy’s view, true art does not copy the appearance of “everyday vulgarity,” but questions conventions. That is why the run-of-the-mill [...]ICAA Record ID: 1138199 -
Manifiestos : non Serviam
1914“Non Serviam,” a manifesto written by Chilean poet Vicente Huidobro, records his rejection of naturalism in poetry. He declares that poets should no longer imitate or reproduce nature; instead, they should create distinct new worlds [...]ICAA Record ID: 1126176 -
Discurso de incorporación a una sociedad literaria de Santiago pronunciado en la sesión del 3 de mayo de 1842
1944This address was given by the Spanish-born, Chilean-based scholar José Victorino Lastarria in 1842 during a meeting of the recently formed Sociedad Literaria, a literary society of important Chilean scholars and politicians. In his speech to the [...]ICAA Record ID: 1125103 -
[Chicago Latino]
1992This exhibition catalog, Chicago Latino, was part of an intercultural dialogue initiated by two “socially-minded arts groups,” the 369 Gallery of Edinburgh, Scotland, and the Near Northwest Arts Council of Chicago, Illinois. The exhibition [...]ICAA Record ID: 1056360 -
[Ayer al fin de la tarde..]
Chilean artist Mario Toral speaks of his experiences when he arrived in New York as an exile in 1973, immediately after the coup d'état led by General Augusto Pinochet. He compares the squandering of North Americans, who throw everything away, with [...]ICAA Record ID: 861808 -
Catalina Parra
1998In this essay, Carmen Bardeguez-Brown weighs the influence of the Berlin Dadaists (1918–22) on photomontage artist Catalina Parra. Of Chilean descent, Parra went to college in Germany where she was exposed to Dada art in 1968. She was drawn to the [...]ICAA Record ID: 842081 -
Catalina Parra
1998In this essay, Carmen Bardeguez-Brown weighs the influence of the Berlin Dadaists (1918–22) on photomontage artist Catalina Parra. Of Chilean descent, Parra went to college in Germany where she was exposed to Dada art in 1968. She was drawn to the [...]ICAA Record ID: 842058 -
Discursive Images and Resonant Words Address the Vox Populi: The Visceral Art of Carlos Cortéz Koyokuikatl
2001In this catalogue essay, Victor Alejandro Sorell considers the 36-year career (spanning 1964–2000) of the Chicano artist Carlos Cortez, praising him as the “quintessential artist-reporter,” and emphasizing his virtuosity as a master printmaker [...]ICAA Record ID: 840498 -
Crushed Jewels, Air, Even Laughter : Matta in the 1940s
2001This essay examines the impact of Roberto Matta’s presence in the United States during 1939–1948, when, as part of a Surrealist cohort of émigrés, he established temporary residence in New York to escape the war in Europe. The authors [...]ICAA Record ID: 840187 -
Mirentxu Ganzaraín: Chile
1992In this text, the artist Mirentxu Ganzaraín discusses the inadequacy of terminology in use in the United States to describe and categorize the art by artists whose ethnic backgrounds are other than normative ones. As a North American of Chilean and [...]ICAA Record ID: 782615 -
El realismo crítico de José Balmes
1996Justo Pastor Mellado writes about the life and work of José Balmes, taking as his starting point an exhibition of two of the painter’s works that Mellado defines as paradigmatic: No (1972) and El luche (1994), both of which are [...]ICAA Record ID: 778658 -
Mónica Bengoa. Al son de un suave y blando movimiento
2006Adriana Valdés wrote this essay for the catalogue for an exhibition of works by Mónica Bengoa. Organizing her text around six themes, Valdés writes about stories, pixels, the unspeakable, “To the sound of a smooth, soft [...]ICAA Record ID: 775512 -
De como empezó la enseñanza de Antúnez
2006The artist Roser Bru provides a first-person account of the founding of Taller 99, specifically at the time when Nemesio Antúnez first started teaching. When he was unable to start a workshop at the Escuela de Artes Aplicadas in Santiago, [...]ICAA Record ID: 774610 -
Comunicato alla stampa
1975The text informs the Italian press that in the meeting which took place on October 15 and 16, 1975, it was agreed among the artists representing Argentina, Brazil, Chile, France, Italy, the Netherlands and Uruguay to constitute the Fronte [...]ICAA Record ID: 774007 -
La faena de nuestra América
2005This is the text of the speech Gabriela Mistral gave at the special session of the board of directors of the Pan American Union in Washington, DC, in 1946, the year after she received the Nobel Prize in Literature in Stockholm. The Chilean poet [...]ICAA Record ID: 773675 -
Santos Chávez
This essay is Pedro Millar’s brief biography on Santos Chavez’s integration into Taller 99, in which he also gives an account on his artistic trajectory through the interpretation of his iconography. He states that in an encounter [...]ICAA Record ID: 773633 -
La madre fotografía
2002In this essay, Rita Ferrer discusses photography based on an international critique of several periods. She refers to authors such as Roland Barthes, Charles Baudelaire, and the Chilean artist Carlos Leppe, claiming that they all share a “ [...]ICAA Record ID: 773582 -
Deslindes y giros fotográficos
2006The essay written by Patricio M. Zárate covered the new emerging generation of Chilean artists. According to the author “customary artistic boundaries had been disregarded” with the incorporation of artistic works pertaining to [...]ICAA Record ID: 773560 -
El infinito de la obra
2005“El infinito de la obra” by Francisco Brugnoli is the introductory essay in the catalogue for the exhibition Centenario Carlos Hermosilla, 1905–2005, which acknowledged the centenary of the birth of the famous printmaker from [...]ICAA Record ID: 773534 -
Mobiliario e indicialidad en la obra de Alicia Villarreal
1997In this essay Justo Pastor Mellado discusses four works produced by Alicia Villarreal in 1996–97 that were shown at various exhibitions. He sees similarities in them, in both thematic and material terms, based on their focus on books and [...]ICAA Record ID: 773527 -
La línea de la memoria
1995This essay by Alberto Madrid is the research on the evolution of Chilean engraving at the Escuela de Bellas Artes de Viña del Mar. For this the author utilized references of national geographic elements associated with printmaking, which [...]ICAA Record ID: 773367 -
Ventana abierta al mundo de Antúnez
1956In this essay, Enrique Lihn writes about the first period in Nemesio Antúnez’s career as an artist, ignoring what people usually say about his work in order to discuss “energetic contrasts.” It was during that early period ( [...]ICAA Record ID: 770372 -
La escritura sobre la fotografía : campo referencial fuera de campo
1998This essay by Alberto Madrid is on the exhibition Fotografía: intervenciones, cruces y desvíos. His play of words “field of reference out of field” emerged in the essay questioning the bibliographic references with which [...]ICAA Record ID: 767268 -
El grabado en Chile 1950-1973 en la época de las planificaciones globales
2000This essay by Mario Soro was one of the chapters in the catalogue for the exhibition Chile 100 años (Chile 100 Years) covering the second period, 1950–73, titled “Entre modernidad y utopía” (Between Modernity and [...]ICAA Record ID: 767226 -
Homenaje a Carlos Hermosilla
1970This essay is a brief text written by the historian and art critic Antonio Romera on Carlos Hermosilla’s work in the context of his participation at the IV Bienal Americana del Grabado in Santiago, Chile in 1970, whose core topic was on Chilean [...]ICAA Record ID: 767084 -
Magia y laberinto
1994In this text Gaspar Galaz writes about the prints produced by Jaime Cruz. He discusses the ones from the 1960s, which are representative of Cruz’s early work in this medium. Galaz also refers to the dominant trends in art at that time, the [...]ICAA Record ID: 767046 -
Claudio Bravo
1994This article was written by Gaspar Galaz on the occasion of a retrospective exhibition of works by Claudio Bravo at the Museo Nacional de Bellas Artes in Santiago, Chile. Galaz refers to a debate about art and how it should be defined that was [...]ICAA Record ID: 766994 -
Juan Francisco González
1947Pedro Prado writes about Juan Francisco González after he had passed away, referring to him as “his teacher,” the teacher who taught him how to see as a painter, to find the beauty in his surroundings. Prado describes Gonzá [...]ICAA Record ID: 765570 -
Tribu No
1995This essay includes a compilation of statements made by members of the Tribu No, a group devoted to experimental poetry and art that was active in Chile in the late 1960s and early 1970s; it also includes statements by other individuals who were [...]ICAA Record ID: 765538 -
XUAN Luis
2001Cecilia Vicuña writes about her relationship with Juan (“Xuan”) Luis Martínez. Her memories date back to before they met, to times when they were at the same place at the same time. Vicuña mentions an occasion when [...]ICAA Record ID: 765500 -
Los pintores en el grupo de los Diez
1976Gaspar Galaz writes about the Grupo de Los Diez, describing how the group began and providing some historical context. He gives a broad explanation about how the group operated and goes on to discuss the painters in the group and their works. He [...]ICAA Record ID: 765424 -
Pedro Luna, el pintor
1962Enrique Lihn imagines a dialogue between Pedro Luna’s work and what both Victor Carvacho and Antonio Romera have written about it. According to Lihn, Luna’s painting is inspired by a natural, instinctive feeling that is focused on form [...]ICAA Record ID: 765294 -
La pintura de Carlos Pedraza
1966Luis Oyarzún writes about the body of work that the painter Carlos Pedraza produced over the course of his three-decade career. According to Oyarzún, Pedraza attained a measure of skill in the areas he explored and, like Pablo Burchard [...]ICAA Record ID: 764894 -
La manufactura del paisaje
1989In this essay, written for the solo show of works by Patricio de la O, the art critic and curator Justo Pastor Mellado discusses the catalogue, the gallery, and the relevant demands on both the painter and the painting itself. Pastor Mellado claims [...]ICAA Record ID: 757713 -
El lugar ideal
1996Federico Galende wrote this detailed review of Las cuatro operaciones del aparato reproductor, an intervention created by Mario Soro in a public space. Galende reflects on the kind of cartography that can provide orientation for a work of [...]ICAA Record ID: 757598 -
El nomadismo fotográfico de Paz Errázuriz
1996Justo Pastor Mellado writes about Los nómadas del mar, the selection of photographs taken by Paz Errázuriz. The text is divided into four sections, beginning with comments on the artist’s work as a whole, which Pastor Mellado [...]ICAA Record ID: 757526 -
El gran texto del mundo (y sus fragmentos di-versos)
1994In this text the essayist Adriana Valdés discusses the work of Alicia Villarreal, who has created a game based on the alphabet that uses images of discarded objects as vowels to be read as a text. Based on the Walter Benjamin quote (the search [...]ICAA Record ID: 757328 -
El deseo de archivo de Guillermo Nuñez
2003In 2003 Justo Pastor Mellado wrote an essay for the catalogue for La quinta del sordo, the exhibition of works by Guillermo Núñez. On this occasion Mellado looks back to the retrospective Núñez presented in 1993, for which [...]ICAA Record ID: 757295 -
Enunciar, anunciar, denunciar : el arte como archivo
2003In this text Diamela Eltit writes about Guillermo Núñez’s artwork on the occasion of a retrospective exhibition of his works. She discusses the political violence to which he was subjected during the military dictatorship (1973& [...]ICAA Record ID: 757287 -
El comportamiento de la crítica
2000In his essay about the vast subject of art criticism in Chile from 1950 to 1973, Patricio Muñoz Zárate highlights the field’s defining moments, milestones, and notable personalities. In a series of subchapters, he sheds light on [...]ICAA Record ID: 757179 -
Escultura chilena 1950-1973
2000In his essay “Escultura chilena 1950–1973,” the critic Gaspar Galaz outlines the main criteria that influenced Chilean sculpture from 1950 to 1973. He also highlights watershed events and trends in art and identifies connections [...]ICAA Record ID: 757161 -
el deseo de antígona
2001Justo Pastor Mellado wrote this introduction to El deseo de Antígona (The Desire of Antigone), the exhibition of works by Patricia Israel. In a review of earlier projects and exhibitions, the critic explains how the artist researches and [...]ICAA Record ID: 757113 -
El ojo y la mano
1996Guillermo Machuca analyzes the work that Arturo Duclos produced in the 1980s (his first period) and then in the 1990s. The artist’s work, which is indifferent to the goals pursued by language (signs and meanings), forgets past references and [...]ICAA Record ID: 757085 -
Un amor de leche
1984The curator and critic Justo Pastor Mellado wrote this essay to be included in the catalogue for Se me nubla la cabeza. Te quiero y no puedo amarte más, the exhibition of paintings by Samy Benmayor at the Galería Sur (Santiago, 1984). [...]ICAA Record ID: 756978