Copublished with the Institute of International Visual Arts, London. This anthology, edited by Cuban art historian and critic Gerardo Mosquera, offers a wide selection of writings by some of the most important cultural theoreticians of contemporary Latin America. Together they comprise a distinctive corpus of new theoretical discourses, critical of modernity and solidly and pragmatically anti-utopian. The collection balances traditional and popular aesthetic-symbolic production as well as Afro- and Indo-American presences in the visual arts, and covers the whole of the Americans, including the Caribbean and the United States.Contributors : Mó®©£a Amor. Pierre E. Bocquet. Gustavo Buntinx. Luis Camnitzer. Né³´or Garcí¡ Canclini. Ticio Escobar. Andrea Giunta. Guillermo Gó¥º-Peñ¡® Paulo Herkenhoff. Mirko Lauer. Celeste Olalquiaga. Gabriel Peluffo Linari. Carolina Ponce de Leó®® Mari Carmen Ramí²¥z. Nelly Richard. Tomá³ Ybarra-Frausto. George Y?.

Beyond the Fantastic: Contemporary Art Criticism from Latin America

Arts & Photography

Mosquera, Gérardo

History & Criticism

Mit Pr

In this analysis of the work by the Brazilian installation artist Cildo Meireles, the critic Paulo Herkenhoff looks at the impact of Meireles' work on the international art of the 1990s. The work is set in its historical context and in relation to predecessors such as Lygia Clark and Helio Oiticica, contemporaries such as Tunga and the recent generation of South American artists whom he has influenced. Also included in the text are writings by the artist himself. These include the detailed project descriptions and accompanying texts that are an integral part of his work. His writing encompasses conceptual art, politics, environmental art and philosophy.

Cildo Meireles (Phaidon Contemporary Artists Series)

Humor & Entertainment

Cameron, Dan

Herkenhoff, Paulo

Pop Culture

Phaidon Press

The poetic birth of Cuba, and of the character of its culture, might be found in a phrase placed in the mouth of an aborigine of the island and included in a book by the Cuban writers Cintio Vitier and Fina Garcia Marruz, who traced and assembled such outbursts of inadvertent poetry. As is well known, the Spaniards arrived in America by way of the Antilles, which have always formed a sort of aquatic frontier of the continent. In addition to a thirst for gold, the peculiar geography of the area awakened another obsession in Christopher Columbus and his followers that was to last for years: to know if the landscape they were seeing was an island or terra firma. Cuba's elongated shape and its relatively considerable size tended to disorient them. An obscure historian of the nineteenth century, the priest of the Cuban village of Los Palacios, tells us that when Columbus asked the natives of Cuba if the place was island or continent, they answered him that it was "an infinite land of which no one had ever seen the end, although it was an island". Cuba was thus born for the West as quandary, aporia, bluff. In addition, it was to impose the mystery of its aboriginal name over the almost kitschy name Juana, given by the Europeans. The paradox of an infinite island remains as an image of the hyperbolical destiny of Cuba, always out of proportion in comparison to its material bases. Perhaps it is als worthwhile to stress that peculiar and fluid juncture between an insularity that always looks within ("the cursed circumstance of water everywhere", as another writer said) and an opening toward the universal characteristic of Cuban art and culture.

Contemporary Art From Cuba (English-Spanish edition)

Fernandez, Tonel Antonio Eligio

Zeitlin, Marilyn A.

Delano Greenidge Editions

L'art du dialogue et de l'argumentation: S' initier à la pensée critique pour le cours philosophie et rationalité

Laramee, Hélène

Vigneault, Gilles

Doyon, François

CHENELIERE

With a career that spans nearly eighty years, Manuel Alvarez Bravo has long been recognized as one of the foremost figures in the history of photography and one of the great Mexican artists of the twentieth century. Manuel Álvarez Bravo, a pioneer of art photography in Mexico, is a cornerstone of Mexican culture and twentieth-century Latin-American photography. His work ranges from late 1920 to the 90s. Álvarez Bravo's artistic identity is inextricably linked to the history of his country and the creation of Mexican identity after the revolution of 1910. Thus, his work can be understood both as a reflection of the extraordinary variety of cultures in Mexico as an eccentric drift of surreal avante-garde. The exhibition organized by Fundación MAPFRE and the accompanying catalogue, runs through 150 photographs, a limited number of iconographic motifs of his work: reflections and illusions of the big city, bodies lying converted into shapes, objects of ambiguous meanings, a wide panoramic that shows his rejection to easy picturesque, his irony insistently ambiguous, and his ability to convert images into symbols beyond the poetic realism typical of Mexican culture. Another key element in his photography is the time, and thus, the exhibition explores the relationship between his language and in photography and experimental film stills of the sixties. Finally, the exhibition shows a selection of late color photographs and polaroids confirming Álvarez Bravo as an artist working against the grain of established clichés, while having a defining influence on Mexican and Latin-American photography.

Manuel Álvarez Bravo

de la Nue, Ivan

DAVID, CATHERINE

Photography & Video

T.F. Editores, S.L.C.

Arte desde América latina: (y otros pulsos globales)

Ediciones Cátedra

Caminar con el diablo: Textos sobre arte, internacionalización y culturas

Exit

CIFO is pleased to present Adiós Utopia: Art in Cuba Since 1950, a publication that offers a new vision of artistic development and production and which centers on associations with the utopian spirit that defines Cuba's revolutionary period and its impact on art. Through research and critique, the publication establishes a meaningful dialogue that demystifies the preconceived narratives that have characterized Cuban art during the Revolution. Aesthetics, politics and culture are often inextricably interlinked in the artworks created during this period, which in turn exemplify the global transcendence of how art can respond to a dynamic context. This publication reveals a broad range of trends and approaches from the 1950s until the present, covering a variety of mediums such as painting, sculpture, installation, photography and poster art, among others. With over 150 images of artworks produced in Cuba during this time and more than 100 images from archival documents spanning over 60 years, the book includes essays by historians, art critics, curators, artists and other academics as well as a comprehensive chronology.

Adios Utopía. Art in Cuba since 1960

Weiss, Rachel

de La Nuez, Iván

Eligio Tonel, Antonio

Vega, Elsa

Francisco, René

This Side Up

Adiós utopía: Arte en Cuba desde 1950

Tania Bruguera is an interdisciplinary artist who explores exile and survival. Bruguera recently developed a form she calls "Arte de Conducta," or behavior art, in which she constructs situations that compel audience response.

Tania Bruguera: On the Political Imaginary

POSNER, Helaine

Lambert-Beatty, Carrie

Individual Artists

Charta/Neuberger Museum of Art

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