Documents of Latin American and Latino Art

In this text, José Carlos Mariátegui argues that no avant-garde artistic or literary movement has been “as significant historically or important as content as Surrealism.” He asserts that, while Futurism attempted to go beyond formal [...]

In this essay published in 1985, educator and literary critic Roberto de Espada describes the situation of the visual arts in Uruguay in the sixties. He analyzes how informalism was assimilated and internalized by important artists in the country and [...]

In this text, Colombian intellectual Baldomero Sanín Cano offers a number of observations about art and the artist, asserting that the time has come for both to move closer to the masses. Sanín argues that the belief that art is only for a segment [...]

Carlos Mérida affirms that Filippo Tommaso Martinetti launched futurism, a movement that was based on the principle of dynamism in its broadest conception. In [Mérida’s opinion, futurism and all artistic schools do not produce a definitive result [...]

In the same year that the Estridentista manifesto was written, Manuel Maples Arce recounts the progress of both the literary and artistic avant-gardes in Mexico observing that indeed: “the few intellectuals who joined the revolution were corrupt [...]

Amado Nervo announces, in terms of a “literary school,” the emergence of futurism in Italy, whose manifesto he translates in order to place it, with no fear at all, at the reader’s disposal. And Nervo does it with the conviction that—in spite [...]

This document is an anthology containing a collection of etridentista poems and manifestos. It includes an extensive bibliography. Luis Mario Schneider [L. M. Sch.] contextualizes their works within the cultural panorama of that time [...]

From Madrid, the Spanish avant-garde poet Ramón Gómez de la Serna wrote a concise profile of Filippo Tomasso Marinetti that was taken up by the Mexican cultural press. De la Serna refers to a certain appeasement of spirit in his friend the Futurist [...]

This article recounts an interview of Filippo Tomasso Marinetti conducted by Rafael Lozano when he visited the Italian poet in Paris. The text provides an ample description of the new “tactile” aesthetic that the futurist promoted as well as some [...]

This article contains images and commentary on the national exhibition of Futurism that took place in Milan in March of 1919. According to the founding father of the movement, the word “futurista” means “revolucionario, novador [sic], [...]

Invitation to the Exposición de Pintores Modernos [Modern Painters Exhibition], which took place at Amigos del Arte [Friends of Art] (Buenos Aires, June, 1926), and included the following artists: Emilio Pettoruti, Norah Borges, Xul Solar, and [...]

The article points out the importance of the activity brought forth by Filippo Tommaso Marinetti in “our milieu” as a “very valuable collaboration to the renovation movement,” started—long ago—by the group involved in the publication Mart [...]

Alberto Prebisch reports on the exhibition held at “Friends of Art” comprised of works by Emilio Pettoruti, Xul Solar, Norah Borges, as well as two projects by the architects, Ernesto Vautier and Alberto Prebisch, representatives of the & [...]