Documents of Latin American and Latino Art

Alirio Rodríguez discusses where contemporary man stands in terms of the evolution of the technology of his time, and how that evolution affects the visual arts. The Venezuelan artist provides a general description of the connection between human [...]

In this text on the sixth Pirelli Salon by critic Luis Ángel Duque, he references the appearance of television as a mass market industry with the capacity to bring together large audiences on the basis of a global society. In his judgment, it is [...]

In this text, María Luz Cárdenas explains the curatorial vision underlying the third Salón Pirelli and she attempts to address how at that event, new forms of representing and grasping reality on the basis of visual perception [were evident]. More [...]

Only three members of the group were involved in the publication of the second expansionist manifesto: Omar Carreño and Rubén Márquez, both of whom were painters and sculptors, and the graphic designer Álvaro Sotillo. The text of the manifesto [...]

The text “Código fuente: tácticas de combate” (2006) was written by Esteban Rey, artist and professor of art and technology at the Universidad Nacional de Colombia. It analyzes the processes involved in creating two artworks: both fuenteAbierta [...]

This is the MEAT [the Spanish acronym for “electronic media and arts of the period”] report that was presented on December 5, 1997; it includes a description of the project, a proposal for a curriculum reform based on the electronic media and [...]

In June 2004, Alexandra Castellanos and Carolina Jaramillo—two students at the Universidad Javeriana’s School of Social Communication located in Bogotá—interviewed visual artist Carmen Gil Vrolijk as part of a degree project entitled “Arte [...]

The document reviewed here is the introduction to the exhibition Arte y Tecnología, held in the context of the Spanish Industrial Fair, Expotecnia 95. Ana María Lozano, curator of the exhibition, along with the artist and curator John Castles, [...]

Fernando Cocchiarale wrote a historical overview of the pioneering uses of technology in art created in Rio de Janeiro, emphasizing the return of the close links between art and life initiated in the 1960s. The writer also foresaw the revival of the [...]

This anthology presents the first results of the research undertaken by the Núcleo de Tecnologia da Imagem at the EC-UFRJ (Escola de Comunicação da Universidade Federal do Rio de Janeiro), as well as that by the Centre for Advanced Inquiry at the [...]

In this introduction, Eduardo Kac shows that the artists known as “Geração Brasil High-Tech” (including Otávio Donasci, Mario Ramiro, and Paulo Bruscky) represent a type of work that refers back to both Waldemar Cordeiro and Abraham Palatnik. [...]

Daniela Bousso opens the roundtable by introducing the participants, their practices, and their work in the realm of audiovisual art. Christine Mello assesses the Prêmio Sérgio Motta, which, in her view, is limited insofar as it is a prize for [...]

In this text, experimental artist Abraham Palatnik discusses the questions of information and technology in relation to human evolution. In Palatnik’s view, evolution is key to the dynamic of culture as man adapts to the world at large and to his [...]

In this article, Fredric M. Litto sounds a warning concerning the rigorous standards that should apply in the selection of projects for research that focus on the overlap between art and technology. He stresses that the arrival of the computer has [...]

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 discusses the change in paradigm in cultural production due to the use of technology as an instrument in works of art. Images, sounds, objects, and events are now produced by means of automating algorithms of procedures [...]

In this text, Mônica Tavares addresses the realms of art, techno-science, and communications from an interdisciplinary perspective. On the basis of research into the mechanisms by which electronic images are created, Tavares examines novel [...]

While living in New York, Rubens Gerchman announced that he would no longer paint, and began producing objects instead. Nonetheless drawing continued to be his starting point. Throughout his text, he offers observations on the arts scene of the city [...]

In this newspaper article, Francisco Bittencourt discusses the emergence of the new media that began to be used in Brazilian art in the 1970s. Among other artists, the article mentions Arthur Barrio, Anna Bella Geiger, Ivens Machado, Ana Vitória [...]

This is the report on the project Artelab: Laboratorios de Artes Electrónicas in which Colombian artist Juan Reyes attempts to create an inter-university space. The aim of the project, which was initially formulated in Bogotá, is to encourage the [...]

In this text, celebrated intellectual Celso Furtado—the former minister of economics—contemplates the possibility of the conciliation of ideological and intellectual processes given the outdated social structure of Brazil. He argues that the “ [...]

Dorothy McMeekin examines Diego Rivera’s understanding of science and technology and the application of his knowledge to the overall creative and thematic design of the mural cycle Detroit Industry at the Detroit Institute of Arts, painted between [...]

The Argentinean conceptual artist Lea Lublin describes her work Fluvio Subtunal [Sub-Tunnel Flow] (1969), created from a concept stemming from the opposition between nature and technology. The work consists of a walkthrough through nine zones of [...]

This introductory text for Guilio Carlo Argan’s exhibition analyzes the relationship between ideology and technique in order to inquire into the position and destiny of art within that context of ideas. Keeping in mind the self-directed nature and [...]

Luis Felipe Noé writes an assessment of the artistic scene in New York in 1966. The city is the commercial center of the art world, although he judges it to be not the international center, but the national center of the world’s most important [...]