Documents of Latin American and Latino Art

This newsletter announces an exhibition of works by Brazilian artists at the CAYC. The opening of this exhibition emphasizes the bond that exists between the two neighboring countries, despite the complications created by their respective dictatorial [...]

This newsletter announces the list of participating artists in Arte de Sistemas en Latinoamérica, the traveling exhibition that was organized by the CAYC and, on this occasion, presented at the Palais des Beaux-Arts in Brussels, Belgium [...]

On the occasion of the CAYC’s foray into Belgium, this newsletter published a list of the artists whose works were shown at Arte de Sistemas en Latinoamérica, the traveling exhibition that the center presented at the Internationaal [...]

This newsletter announces that the exhibition Brasil 74 will be installed at the Club Universitario in La Plata, the capital of the Province of Buenos Aires. The article includes a list of participating artists and a photograph of some of them with [...]

This newsletter announces the presentation of Expoprojeção 73, an event that consisted of a series of experimental films and audiovisuals created by Brazilian artists and selected by the noted Brazilian critic and curator Aracy Amaral [...]

This newsletter announces the presentation of Expoprojeção 73, an event that consisted of a series of experimental films and audiovisuals created by Brazilian artists and selected by the noted Brazilian critic and curator Aracy Amaral [...]

In his introductory essay, Frederico Morais identifies the basic criteria underpinning the three retrospective exhibitions that were presented as part of the Ciclo de exposições sobre arte no Rio de Janeiro (1984). He briefly discusses [...]

In this essay Ronaldo Brito discusses Brazilian Constructivism as an integral part of an “organized cultural strategy” that was in effect from the 1940s to the 1960s and was closely aligned with “the country’s social and [...]

In this essay, Ferreira Gullar articulates the position of the so-called Neoconcrete artists of Rio de Janeiro by tracing a shared history and points of divergence with the Concrete art movement. For Gullar, Concrete art begins in Brazil with the [...]

The artist, curator, and researcher from Costa Rica, Virginia Pérez Ratton, describes the exhibition A contra corriente [Against the Current] that took place at Galería TEOR/éTica in Costa Rica in 2005 and which included works by Lygia Pape , Gego [...]

Art critic Márcio Doctors analyzes the work of Lygia Pape, whom he considers the most radical of the three Neo-Concrete artists (Lygia Clark, Hélio Oiticica, and Pape). These artists set out to confront the radical experience of space as if it were [...]

Volume from the ABC collection – Arte Brasileira Contemporânea dedicated to Lygia Pape; it includes texts written by her, critic Mário Pedrosa, and a poem by Luis Otávio Pimentel, as well as some short passages written by 19th century writer [...]

Artist Milton Machado discusses the response abroad, specifically in England, to the group show Continuum Brazilian Art 1960s–1990s, held in Essex in 1995. Machado comments on the appeal of a certain “exoticism” attributed to [...]

In this essay, Hélio Oiticica reviews Lygia Pape’s career, which has been skyrocketing ever since her Livro da criação, produced in 1960. Oiticica notes that Pape’s work is increasingly concerned with sensory experience, a trend that has been [...]

In this text Lygia Pape emphasizes the existing connection between poetic and topological space, something which the artist had been delving into since her beginnings in neo-concrete art (1959). She refers to a space in which internal / external [...]

Hélio Oiticica and Rogério Duarte describe the group experience called Apocalipopótese, a hybrid term that combines the words Apocalypse, hypothesis, and hippopotamus. The essay is written in a decidedly irreverent, poetic style that establishes a [...]

This is the script that was used to introduce the films shown at the Cinema de Artista during the sixteenth Bienal de São Paulo in 1981. The critic Ligia Canongia and the visual artist Iole de Freitas wrote what is essentially a synopsis of [...]

In this statement, visual artist Lygia Pape discusses her proposal in Ballet neoconcreto; rendering space dynamic is, the artist explains, essential to works of this sort. In her view, works in modern dance by Oscar Schlemmer and Nicolas Schoffer [...]

In this critical review of Livro da Criação, the work by Lygia Pape, the writer and Ambassador José Guilherme Merquior notes that though the piece is playful it is certainly not childish. He adds that the work depends entirely on the viewer’s [...]

In this article Lygia Pape discusses her work with woodcut blocks, and explains that prints produced using this technique must reflect their essentially graphic nature. She acknowledges her guiding principles, such as a respect for the texture of the [...]

This article reviews the works exhibited by carioca artists (from Rio de Janeiro) at the I Exposição Nacional de Arte Concreta. The poet and critic Ferreira Gullar, who lives in Rio and is the leader of the local concrete art group, discusses the [...]

This text by British critic Guy Brett analyzes Latin American art movements of the fifties and sixties, specifically Kinetic art, Op art, and Concretism. Brett argues that those movements formulated a radical change on the level of theory and of [...]