Documents of Latin American and Latino Art

The author analyzes the joint exhibition at the Galería de Lima. He states that the space dedicated to Fernando de Szyszlo requires effort to be promulgated given how unusual it is for the local [arts] scene. He points out that in these types of [...]

For the author, Carlos Reygada, the works exhibited exemplify a presumptuous attitude that merely imitates the “penultimate” European trends, although without first grounding them in a serious study of the pictorial material. In his judgment, [...]

In this critical review of the exhibition of works by Enrique Kleiser at the Galería de Lima in October 1950, Carlos Raygada praises the painter’s bold attempt to ignore his academic roots and experiment with the abstract ideas that “are in [...]

Here, the writer sketches the artistic development reflected in the work of Alfredo Ruiz Rosas through the five years covered by the exhibition in the Peruvian capital. Bondy acknowledges the persistence of  “the same emotion” in the artist’s [...]

In his comments, Sebastián Salazar Bondy praises the early accomplishments of the painter Sigfrido Laske, especially given the local milieu, “where art training is not as comprehensive as desirable.” His evidence of the artist’s talent is [...]

This newspaper article about the closing of the first premises occupied by the IAC (Instituto de Arte Contemporáneo) in Lima was written by Francisco Moncloa at the request of the director of the magazine Oiga. Moncloa lists a series of “anecdotes [...]

In this essay Jorge Falcón discusses the exhibition of works by Lajos d’Ebneth, the Hungarian artist who lived in Peru, at the Galería de Lima in August 1950. Falcón states objectively that art is, above all, a product in search of “its client [...]

In this text, writer Juan Ríos remarks on the Surrealist exhibition held at the Galería de Lima in July 1954. In his view, Surrealism is outdated. Initially an iconoclastic movement, it has, over the course of several decades that witnessed a [...]

In this text, Luis Miró Quesada Garland offers theoretical observations on the Surrealist exhibition held at the Galería de Lima in July 1954. On the basis of specific quotes, the author disputes the arguments put forth by writer Sebastián Salazar [...]

In this text, Luis Miró Quesada Garland enumerates the main formal virtues of the works in the exhibition of Surrealism held at the Galería de Lima in July 1954. In his view, the show reflects none of the movement’s initial aggressiveness in [...]

In this text, Peruvian writer Sebastián Salazar Bondy comments on the exhibition of Surrealist painting held at the Galería de Lima in July 1954. In Salazar Bondy’s view, Surrealism played a fundamental role in forming the language of modern art [...]

In 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 [...]

While the interviewee, the painter Alberto Dávila, states that the milieu is one influence on artists, he also regards foreign influences as positive for Latin American creators, as long as they do not dampen the artists’ creativity. Artists are [...]

In the opinion of the interviewee Carlos Aitor Castillo, the artist “is inevitably contemporary,” since human beings evolve, both materially and spiritually. However, given the current period of “dehumanization” and limits on artistic [...]

The critic and playwright Edgardo Pérez Luna reviews the exhibition of works by the French artist Jean Dewasne presented at the Galería de Lima in October 1954. According to the reviewer, in Dewasne’s works, which are not at all figurative, the [...]