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Tenemos voz
1959This document is a statement issued by the Montevideo-based GRUPO 8. Although diverse, all of the group members produced “abstract art”; in the late fifties, it was a sort of avant-garde functional to local industry insofar as the group connected [...]ICAA Record ID: 1313144 -
Artes plásticas : respuesta a Szyszlo
1954In this response to Fernando de Szyszlo, well-known critic Sebastián Salazar Bondy points out how dynamic the Peruvian art scene is; against all odds, “there are people working tirelessly, with no pointless nostalgia as they undertake the creation [...]ICAA Record ID: 1293656 -
Consideraciones sobre la pintura peruana
1939In this text, Raúl María Pereira reflects on the history of painting in Peru, affirming that the Incan “genius in form and color” lived on despite the Spanish conquest, not as a parallel or marginal entity, but as a force that acted on “the [...]ICAA Record ID: 1293103 -
Szyszlo o acerca de la confluencia de lo abstracto y lo mítico : exposición en la Galería Latinoamericana de la Casa de las Américas
1968According to the Cuban journalist, there is “a rich tradition of indigenous art” behind the paintings by Fernando de Szyszlo that were exhibited in Havana: a form of popular art whose roots can be traced back to pre-Hispanic culture in the Andean [...]ICAA Record ID: 1292994 -
Desbordar los límites
1984This editorial was published in number 4/5 (1984) of U-tópicos. Entornoalovisual, the Peruvian magazine. In the text, Gustavo Buntinx states that, while the Marxist proposal has yet to be carried out, Marxism itself tends to be distorted and reduced [...]ICAA Record ID: 1292558 -
Veleidad y demografía en el no-objetualismo peruano
1983To provide context for non-object art in Peru, researcher Hugo Salazar del Alcázar briefly cites theorist Juan Acha. Salazar del Alcázar is critical, however, in his description of a scene that in no way partakes of the avant-garde enthusiasm Acha [...]ICAA Record ID: 1292448 -
Sobre el arte en el Perú : necesidad y obligación
1943This is a review of the state of art in the capital city of Peru, written by the academic painter Enrique Domingo Barreda on the occasion of the I Salón organized by the Municipality of Lima. In his opinion, this competition exposed “the appalling [...]ICAA Record ID: 1289889 -
Mirar desde Latinoamérica. Diálogo con Juan Acha, teórico de arte
1987This document is an interview with Peruvian critic and theorist Juan Acha, who lived in Mexico. It sheds light on the uncertainties and concerns facing “art in Latin America” from the perspective of Uruguay and the countries of the Southern Cone [...]ICAA Record ID: 1246077 -
Arte Latinoamericano en Estados Unidos
1966In this text, Uruguayan artist Luis Camnitzer—resident of New York since 1964 who was a correspondent from there for the Montevideo-based weekly Marcha—discusses the rising importance of “Latin American” art in New York art galleries and in [...]ICAA Record ID: 1246055 -
Cuál debiera ser nuestro arte
1944His extensive preaching in favor of spiritual rectitude led Joaquin Torres García to reject the “superfluous” in art and keep the fundamental elements that make up the concept and structure of Constructivist art. The resulting logic of this [...]ICAA Record ID: 1245873 -
Valores constantes y de importación
1944This essay is about a conference that was presented by Joaquín Torres García a few months after arriving in Montevideo in April 1934. In it, Torres García seeks to characterize the Uruguayan artistic environment while also proposing a path forward [...]ICAA Record ID: 1245823 -
El arte de América
1944This essay is on another new text about American art by Joaquín Torres García that addresses the distance from Europe after a harsh judgment about the “delay” in aesthetic concepts in Uruguay in which he tries to explain his concept of “ [...]ICAA Record ID: 1245783 -
Metafísica y ética del artista
1944Following harsh criticism of positivism (and eclecticism) of the intellectual environment of Montevideo, Joaquín Torres García presented his ideas about metaphysics, ethics, and religiosity in art. This text makes several important points about the [...]ICAA Record ID: 1245733 -
arte y comunismo
1944In this essay, Joaquín Torres García attempts to link this sociopolitical doctrine with that of modern art after presenting a succinct historical review starting from “primitive communism” up through the Marxist doctrine. He does so by [...]ICAA Record ID: 1245711 -
Hachepiencia
1966This essay is on “Hachepiencia,” the manifesto produced by the Uruguayan group Los hachepientos, which was formed by Clemente Padín, Héctor Paz, and Juan José Linares. The principal objectives of the group were outlined in the manifesto [...]ICAA Record ID: 1243133 -
Arte en las calles
1990In this essay, the artist and performer Clemente Padín explains the concept of “street art and urban art” following the alternative art exhibition, Tomarte, held in the city of Rosario, Argentina, in April 1990, with the pretense [...]ICAA Record ID: 1243093 -
Bases y fundamento del arte constructivo
1944This article is called a “lesson” (as are all the chapters in the book Universalismo Constructivo, which is a collection of lectures), a reference to Joaquín Torres García’s didactic style throughout the lengthy volume. The project is the [...]ICAA Record ID: 1242058 -
Reblandecimientos y blandecimientos en el arte uruguayo
1992Luis Camnitzer harshly criticizes the contemporary “young art” that emerged in Uruguay, while also critiquing his own 1960s generation. This article is of interest because of its highly controversial nature, given that it was published at a time [...]ICAA Record ID: 1238821 -
La Cultura Artística en la era terrista (1933- 1943)
1988In this essay the critic Gabriel Peluffo discusses the artistic and cultural policies that were introduced during the Gabriel Terra dictatorship (the so-called period of political terrismo, 1933–1938), and the institutional map that was proposed [...]ICAA Record ID: 1237839 -
El artista latinoamericano en relación al encuentro de dos mundos
1991This text is the manifesto of Latin American art issued by the Sindicato Uruguayo de Artistas Plásticos (SUAP) in 1991, after the Primer Congreso de Arte Hispanoamericano held in La Paz, Bolivia. It addresses issues facing the region as a whole, [...]ICAA Record ID: 1236260 -
Situación de la pintura joven
1950This article is by Hans Platschek who was living in Montevideo between 1939 and 1953. The German artist makes a self- analysis on the resulting situation of postwar modernism, specifically the debated notion of “Art Nouveau or young art” both in [...]ICAA Record ID: 1228378 -
Arte Argentino del pasado y del presente
1943In 1943, an exhibition of one hundred and seven Argentinean artists, consisting of late 19th- century and early 20th-century painters and sculptors, was held in Montevideo under the auspices of the National Commission of Fine Arts of Montevideo and [...]ICAA Record ID: 1228201 -
La Escuela de París y Nuestro Medio Artístico
1949In this essay, the Uruguayan art critic Fernando García Esteban praised Paris as being the artistic center of the world. He questioned the fading creative impulse that was being experienced by the Uruguayan artists, whom after so daringly being [...]ICAA Record ID: 1227399 -
Sobre un arte integral
1955In response to the hypotheses of an “integral art” proposed by Alejandro Romualdo, the writer states his belief that Modern art trends entail a progressive “destruction of reality.” This is why art’s síntesis cannot entail a return to [...]ICAA Record ID: 1227195 -
Reportaje a Romano Espinoza Cáceda
1952In this interview, Romano Espinoza Cáceda classifies Peruvian art into three major periods: ancient (decorative, with its own characteristics), colonial (marked by “natural” European influences) and modern (attempting to pinpoint what makes art [...]ICAA Record ID: 1227158 -
Educación para la belleza y el arte : conferencia a unos maestros
1956In 1956, the art critic José Pedro Argul published a text written the year before for the faculty at the Colegio Sagrada Familia. In it, he outlined his ideas on visual art, his studies, and his philosophy. It reviewed the concept of “beauty,” [...]ICAA Record ID: 1226918 -
De la pintura y el pintor
1947This article was written around the time Joaquín Torres García was giving his lecture on “Mística de la Pintura” and reviewing the main points supporting his conception of “art,” that is, immanentism [God or an abstract mind or spirit [...]ICAA Record ID: 1226559 -
Sobre la querella del realismo
1947This article by Marcel Gromaire was published in AIAPE magazine—a champion of social realism in art—at a crucial point in the debate over aesthetics in Montevideo: the beginning of painting’s slide toward a “politically committed” form of [...]ICAA Record ID: 1225636 -
El arte mejicano
1938On the occasion of a tribute to Mexico, Joaquín Torres García gives a talk at the Ateneo de Montevideo about the major Mexican artists. He mentions the group of artists who are commonly referred to as “Los Tres Grandes:” David Alfaro Siqueiros [...]ICAA Record ID: 1225519 -
La actividad plástica del año
1940This anonymous article mentions three important events in the Uruguayan visual arts calendar in 1940: the exhibition of French painting, the Salón Municipal de Artes Plásticas, and the critiques of the Salón Nacional de Artes Plásticas. These [...]ICAA Record ID: 1223617 -
El arte y la democracia
1941Eduardo Blanco Acevedo was ideologically conservative and participated in the 1933 coup d’état of Gabriel Terra. During the elections of 1946, he self-directed the “blancoacevedismo” movement, a major force of conservative ideology within [...]ICAA Record ID: 1218530 -
Arte Folklorico Versus Arte Social, Versus L´Art Pour L´Art
1943In this essay by Adolfo Halty, ideas are espoused about the controversial “social” sense of art and “folkloric art” at a time in Uruguay when debates about the notions of “cultural heritage,” “popular art,” etc., were beginning to be [...]ICAA Record ID: 1217654 -
Mapping Change : a historical perspective on geometric abstraction in Argentina, Venezuela and Brazil = Cartografía del cambio : una perspectiva histórica de la abstración geométrica en Argentina, Venezuela y Brazil
2001The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]ICAA Record ID: 1217297 -
La nueva Comisión Nacional de Bellas Artes
1967After a number of years of inactivity, the Comisión Nacional de Bellas Artes (CNBA) was restructured in 1967. While the commission was largely supportive of the Uruguayan government, it included a wide range of representatives of the artistic and [...]ICAA Record ID: 1210503 -
La función social del arte : Vaz Ferreira en la catedra
1936Entitled “La función social del arte,” this article discusses one of the final lectures given by philosopher Carlos Vaz Ferreira. In the lecture, Vaz Ferreira describes the figure of an intellectual not committed to the social and political [...]ICAA Record ID: 1199781 -
Hacia el arte social
1934This article advocates “social art” in Uruguay in the framework of the ideological battle between capitalist society and the Soviet Communist regime. The author clearly supports the latter position when he asserts that not even the members of the [...]ICAA Record ID: 1199740 -
Hacia el arte revolucionario : contestando al camarada JOS
1934This article by Francisco R. Pintos is a response to the one by Juvenal Ortiz Saralegui published in the previous issue of Movimiento journal. Whereas Ortiz Saralegui was conciliatory in his approach to the problem of the relationship between “pure [...]ICAA Record ID: 1198896 -
Hacia el arte revolucionario
1934This article by Juvenal Ortiz Saralegui formed part of the early debates in the leftist press in Uruguay on the relationship between art and politics, debates that largely ensued in the publication of the Confederación de Trabajadores Intelectuales [...]ICAA Record ID: 1198856 -
Declaración de principios de la C.T.I.U
1934A manifesto of sorts, this article expands on the statement of principles voiced by the Confederación de Trabajadores Intelectuales del Uruguay (CTIU) in its first publication, the journal Aportación. The text is an extended exposition of the [...]ICAA Record ID: 1198763 -
Hacia el arte revolucionario III
1934This article by Juvenal Ortiz Saralegui formed part of a series published in Movimiento journal—the publication of the Confederación de Trabajadores Intelectuales del Uruguay (CTIU)—that attempted to formulate a “revolutionary art” that did [...]ICAA Record ID: 1198748 -
La necesidad de la imaginación
1981This article describes and analyzes the role of the “recipient” of the various messages expressed by the visual arts. At the end of the dictatorship period (1973–85), Uruguayan artists once again sought to come to grips with the question of [...]ICAA Record ID: 1190793 -
Reflexiones en torno a la supuesta crisis de las artes plásticas
1982In this document, the art critic and historian Olga Larnaudie discusses the art that Uruguayan artists were making in the early 1980s. The author looks at long term processes, basing her views on the writings of the Argentinean writer and critic Aldo [...]ICAA Record ID: 1185539 -
Unas pocas reflexiones y muchas interrogantes en torno a las Artes plásticas en el Uruguay de los últimos años.
1983Drawing on the perspective gained from her association with the CGM (Club de Grabado de Montevideo), Olga Larnaudie describes the general dissatisfaction and sense of crisis she sees in the visual arts community in Uruguay. She was writing in the [...]ICAA Record ID: 1185426 -
Opiniones (I)
1982The article titled “Opiniones I” in the Boletín N° 12 (1982) published by the CGM (Club de Grabado de Montevideo) provides the Uruguayan reader with an appraisal of the current state of contemporary art, which the author claims is facing a [...]ICAA Record ID: 1185411 -
Referencias sobre identidad, cultura y arte en Latinoamérica
1987In this essay, numerous questions are raised relating to national and continental identity in Latin America, after eleven years (1973–84) under military dictatorship. There is a manifest recognition of both the reality of underdevelopment, as well [...]ICAA Record ID: 1183641 -
El arte y la política vistos por César Rengifo : entrevista exclusiva con "Tribuna Popular"
1980The journalist Silvia Coronil interviews César Rengifo; she begins the conversation by mentioning that this artist had recently been awarded the CONAC [Consejo Nacional de la Cultura, Venezuela] theater prize. Rengifo discusses his views about art [...]ICAA Record ID: 1172426 -
Realidades y experiencias, un intercambio propicio
2000This text by curator Zuleiva Vivas provides a visual overview of and a reflection on the works by Ricardo Alcaide, Nelsón Garrido, María Eugenia Arria, Alberto Asprino, Mauricio Lupini, Alfredo Ramírez, Luisa Richter, Fabiola Sequera, Jesús [...]ICAA Record ID: 1172410 -
Meditación sobre el misterio del arte en la era de la furia técnica
200oIn this text on the 58º Salón Michelena (Valencia, state of Carabobo) written in the year 2000, art critic Juan Astorga discusses the relationship between art and technique to reflect on the definition and meaning of “art.” Astorga defines art [...]ICAA Record ID: 1172394 -
Villanueva and the Uses of Arts : The integration of painting and sculpture in his architecture constitutes a unique achievement of our period
1960The writer of this text was Sibyl Moholy-Nagy, an art history professor and architecture critic in Germany. Here, she addresses the issue of art integration, which has been of interest to the art world for a long time. Focusing on the way [...]ICAA Record ID: 1172346 -
Un sueño hecho realidad
In this short essay, Víctor Vasarely recalls the beginning of his collaboration with architects, which began in 1952, when he met Venezuelan architect Carlos Raul Villanueva in Paris through Sofia Imber. [Villanueva] invited him to participate in [...]ICAA Record ID: 1172298