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Across a complex and prolific practice ranging from photocopies and Polaroids to collaged maps and conceptual photography, Perna’s work examined the boundary between material record and reality across art and science. Featuring more than forty works from several key series, this exhibition highlights his exploration of documentation, authorship, and national identity, and experimental approach to artistic production, between 1968 and the early 1990s.",[109],{"start":110,"end":111,"type":112},79,108,"em",{"type":23,"text":114,"spans":115,"direction":26},"Born in Milan, Perna moved to Venezuela as a teenager and studied geography, which informed his explorations of place and nationhood across his work. In his series of collaged maps of Venezuela, on view in this exhibition, he challenged the notion of national identity as fixed, presenting it instead as shaped by personal memory and rooted in lived experience. Starting in the late 1960s, he launched a series of conceptual experiments with photographic technology, in which he investigated the media through which information circulates and accumulates. These works included orchestrated photographic scenes in Fotos dirigidas (1967–68), photocopied self-portraits and impressions of found objects in Autocopias (1973–75), and performative documentation in Fotoinformes (1976–90) and Alineamientos (1976).",[116,119,122,125],{"start":117,"end":118,"type":112},613,629,{"start":120,"end":121,"type":112},703,713,{"start":123,"end":124,"type":112},759,771,{"start":126,"end":127,"type":112},786,799,{"type":23,"text":129,"spans":130,"direction":26},"By tracing Perna’s conception of the “idea as art”—a commonly used term and unifying principle of the diverse strategies of conceptualism—this exhibition positions his work within an international history of conceptualism and foregrounds a moment of radical artistic experimentation in Venezuela, as artists expanded the languages of abstraction, embraced experimental media, and pursued alternative art forms. In doing so, it highlights Perna’s expansion of artistic production beyond the art object and invites viewers to consider how knowledge is constructed through acts of looking, recording, and reinterpreting—concerns that continue to resonate today amid ongoing debates regarding the circulation of information and the authority of images.",[],{"type":23,"text":132,"spans":133,"direction":26},"On view from January 31 to May 2, 2026, Claudio Perna: Idea como Arte is curated by Olivia Casa with Clara Prat-Gay.",[134],{"start":135,"end":136,"type":112},40,69,{"type":23,"text":138,"spans":139,"direction":26},"",[],{"type":23,"text":141,"spans":142,"direction":26},"Image Caption: Claudio Perna, Idea como Arte (Idea as Art), 1976. © Fundación Claudio Perna",[143],{"start":144,"end":145,"type":112},30,45,"single_column_content$7c55f9e4-33ff-4714-833d-cf6bf577b087","single_column_content",{"variation":101,"version":102,"items":149,"primary":150,"id":161,"slice_type":147,"slice_label":7},[],{"text":151},[152],{"type":23,"text":153,"spans":154,"direction":26},"INSTALLATION VIEWS",[155],{"start":156,"end":157,"type":158,"data":159},0,18,"label",{"label":160},"Pull Quote","single_column_content$abe12cd2-4690-4287-b648-af19c8b83c90",{"variation":101,"version":102,"items":163,"primary":241,"id":242,"slice_type":243,"slice_label":7},[164,181,191,201,211,221,231],{"image":165,"image_caption":174},{"dimensions":166,"alt":7,"copyright":7,"url":169,"id":170,"edit":171},{"width":167,"height":168},3000,2001,"https://images.prismic.io/islaa/aYTVj90YXLCxVdjV_2026_02_02_ISLAA0764.jpg?auto=format,compress","aYTVj90YXLCxVdjV",{"x":156,"y":156,"zoom":172,"background":173},1,"transparent",[175],{"type":23,"text":176,"spans":177,"direction":26},"Installation view of Claudio Perna: Idea como Arte, Institute for Studies on Latin American Art (ISLAA), New York, 2026. 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Perna, Idea como Arte (Idea as Art), 1976. © Fundación Claudio Perna",[280],{"start":281,"end":144,"type":112},15,[283],{"type":23,"text":284,"spans":285,"direction":26},"Marking the first solo show of Venezuelan artist Claudio Perna’s work in New York, this exhibition will bring together more than forty works in photocopy, photography, and collage that demonstrate the artist’s pathbreaking contributions to the evolution of conceptualism.",[],[287],{"page":288},{"link_type":30},[290],{"shopify_product_handle":7},{"id":292,"uid":293,"url":7,"type":8,"href":294,"tags":295,"first_publication_date":296,"last_publication_date":297,"slugs":298,"linked_documents":299,"lang":17,"alternate_languages":300,"data":301},"aYu44RMAACUA7Zah","david-lamelas-the-machine","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aYu44RMAACUA7Zah%22%29+%5D%5D",[11],"2026-02-11T22:09:15+0000","2026-03-16T14:03:17+0000",[293],[],[],{"title":302,"subtitle":303,"series":307,"regions":310,"date":313,"end_date":314,"location":315,"institutions":323,"exhibition_materials":331,"in_the_news":345,"artists":356,"curators":365,"art_movements":368,"slices":371,"meta_description":7,"meta_image":432,"meta_title":7,"preview_image":437,"preview_image_caption":453,"preview_description":454,"related_content":458,"related_products":459},"David Lamelas: The 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Fabri",[357],{"artist":358},{"id":359,"type":84,"tags":360,"lang":17,"slug":361,"first_publication_date":362,"last_publication_date":363,"uid":361,"link_type":30,"key":364,"isBroken":47},"ZRNA2xAAACoATBNU",[],"david-lamelas","2023-09-26T20:36:46+0000","2026-03-09T15:10:47+0000","316f0f9e-2a4a-4a9c-a71f-977f823e80aa",[366],{"curator":367},{"link_type":30},[369],{"art_movement":370},{"link_type":30},[372,385],{"variation":373,"version":102,"items":374,"primary":375,"id":384,"slice_type":147,"slice_label":7},"image",[],{"image":376,"image_caption":383},{"dimensions":377,"alt":7,"copyright":7,"url":380,"id":381,"edit":382},{"width":378,"height":379},984,700,"https://images.prismic.io/islaa/aYz8u90YXLCxVtFT_DavidLamelas_DiaExhibition_HeroImage.png?auto=format,compress","aYz8u90YXLCxVtFT",{"x":156,"y":156,"zoom":172,"background":173},[],"single_column_content$ea3be6fc-993a-4fd8-84b3-4848d59ff7a5",{"variation":101,"version":102,"items":386,"primary":387,"id":431,"slice_type":147,"slice_label":7},[],{"text":388},[389,391,393,396,398,426],{"type":23,"text":302,"spans":390,"direction":26},[],{"type":23,"text":321,"spans":392,"direction":26},[],{"type":23,"text":394,"spans":395,"direction":26},"March 6–September 30, 2026",[],{"type":23,"text":138,"spans":397,"direction":26},[],{"type":23,"text":399,"spans":400,"direction":26},"Dia is pleased to announce David Lamelas: The Machine, a comprehensive survey exhibition of the Argentine artist’s work and his first major solo presentation in New York. A foundational yet overlooked figure of 1960s and ’70s art, Lamelas has produced paintings, drawings, sculptures, installations, perfor­mances, and films, bridging Conceptual, Minimalist, and Pop approaches to art making.\nThe presentation at Dia Chelsea comprises three parts—a performance, an exhibition, and a film program. Preceding the exhibition, 1416 m3 (2014) is performed in the galleries on February 10, 2026. The piece, scored by composer Gavin Gamboa following Lamelas’s concept, uses sound and voice to represent volumetric and metaphysical space, functioning as an immersive prelude to the installation. Opening on March 6, the nonlinear exhibition emphasizes key moments from the artist’s career, surveying 1965 to the present through a diverse selection of works, among them recent additions to Dia’s collection, such as the especially commissioned Situación de tiempo II (Situation of Time II, 2025). In parallel, the films presented in the program space further expand the physical dimension of the exhibition, illustrating the breadth of the artist’s moving-image practice from the mid-1970s to 2020. 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Free and open to the public, this program offers in-depth perspectives on our current presentations on the work of artists Carlos Cruz-Diez, Claudio Perna, Alejandro Otero, and Diego Barboza.",[],{"type":23,"text":516,"spans":517,"direction":26},"Learn how each exhibition was conceived, how the works on view relate to one another, and how these artists contributed to the evolution of modern and contemporary art. Designed as an interactive experience, this approximately one-hour-long tour encourages close looking and open conversation. Participants will gain insight into the historical contexts, artistic ideas, and curatorial approaches that shape our exhibitions, providing an opportunity to engage directly with our programming.",[],{"type":23,"text":519,"spans":520,"direction":26},"Tours are held in English at ISLAA, located at 142 Franklin Street in Tribeca. 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Institute for Studies on Latin American Art (ISLAA) is delighted to announce the opening of “From Surface to Space”: Max Bill and Concrete Sculpture in Buenos Aires, curated by Francesca Ferrari. The first in a new series on Latin American modernism at ISLAA, this exhibition explores concurrent experiments in Concrete sculpture amid the formative, transnational creative dialogue between the Swiss artist Max Bill and the Argentine avant-garde from 1946 to 1955. It is conceived as a complementary exhibition to Max Bill Global, curated by Fabienne Eggelhöfer with assistance from Myriam Dössegger, at the Zentrum Paul Klee in Bern, Switzerland.\n\n“From Surface to Space” brings together sculptures by Carmelo Arden Quin (Uruguayan, 1913–2010), Max Bill (Swiss, 1908–1994), Claudio Girola (Argentine, 1923–1994), Enio Iommi (Argentine, 1926–2013), and Gyula Kosice (Argentine, 1924–2016), as well as a series of drawings by Lidy Prati (Argentine, 1921–2008). As members of the groups Asociación Arte Concreto-Invención (AACI) and Madí, the Buenos Aires–based artists Arden Quin, Girola, Iommi, Kosice, and Prati circulated, revised, and expanded Bill’s notions of concretism in Latin America. This exhibition frames Bill’s relationship to his Argentine peers as one of reciprocal impact, revealing how artists in Argentina reacted to Bill’s theories while Bill reoriented his characterization of Concrete art after encountering their work.\n\nTaking its title from a 1951 essay in which Bill examines how artworks relate to the spaces they inhabit, the show highlights these artists’ shared aspirations to shape objects that activate their surroundings, using abstraction as a tool for animating environments. Focusing on sculpture, a medium that is less often centered in discussions of the Argentine avant-garde—which tend to privilege marcos recortados, or paintings with “broken frames”—this exhibition examines the role of sculpture in advancing artists’ determination to energize three-dimensional space. Despite their diversity of ideologies and approaches, the featured artists were united by a common, revolutionary goal: to invoke visual, tactile, and synesthetic responses in the viewer.\n\n“From Surface to Space”: Max Bill and Concrete Sculpture in Buenos Aires is accompanied by an original publication including an essay by curator Francesca Ferrari. Physical copies are available free of charge at ISLAA and for download online.\n\nISLAA is open from 2 to 5 PM on Tuesday and from 2 to 7 PM on Wednesday through Friday. Proof of vaccination is required in line with New York City regulations. Guests must wear masks and adhere to all COVID-19 guidelines while on-site. Although walk-ins are allowed, visitors are encouraged to book appointments in advance through ISLAA’s online scheduler.\n\n\nEXHIBITION TALKS\n\nIn conjunction with the exhibition, ISLAA is pleased to present a series of live online public programs and prerecorded lectures that will examine Bill’s broader legacy in Latin America and provide further insight into the featured artists’ work. Co-organized with the Zentrum Paul Klee, the panel International Dialogues in Experimental Design on October 14 will explore the development of European and Latin American experimental design and pedagogical strategies inspired by the Bauhaus. A second panel on October 21 will be presented as part of the Latin American Forum at the Institute of Fine Arts, New York University, a platform proudly sponsored by ISLAA since 2013. This event, titled Recasting Concretism, will consider Bill’s work in relation to concrete art in Argentina and Brazil. 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The exhibition focuses on particular strategies of Polvo de Gallina Negra that combined social activism and radical humor.",[1455],{"start":1456,"end":1457,"type":112},122,192,{"type":23,"text":1459,"spans":1460,"direction":26},"Late 20th-century Mexico City was marked by a lively convergence of political activism and cultural transformation. In the aftermath of the 1968 Tlatelolco massacre, in which the Mexican Armed Forces killed students during a peaceful protest, many of the city’s activist-artists pursued collaborative work and political change by forming a number of collectives, initiating what came to be known as the grupos generation. In this same period, the United Nations declared 1975 as the International Women’s Year, inaugurated with the first World Conference on Women in Mexico City. The conference increased the visibility of feminism in the country, opening up discussions on gender, politics, and women’s role in society. Bustamante and Mayer emerged as key figures in this environment, eventually joining forces as the duo Polvo de Gallina Negra in 1983.",[1461],{"start":1462,"end":409,"type":112},403,{"type":23,"text":1464,"spans":1465,"direction":26},"In the late 1970s, Mayer traveled to Los Angeles, where she worked alongside feminist artists such as Judy Chicago and Suzanne Lacy, while Bustamante became an essential bridge between feminism and conceptual art in Mexico. Bustamante and Mayer combined their approaches when—initially alongside artist Herminia Dosal—they established Polvo de Gallina Negra, adopting a name meaning “black hen’s powder,” a medicine to ward off the evil eye. Though committed to social transformation like the grupos before them, the duo’s focus on women’s exclusion from the public realm distinguished them from their mostly male counterparts. The counter-pedagogical, feminist strategies they adapted and invented included infiltrating mass media through lively TV appearances, participating in street demonstrations, organizing consciousness-raising workshops, and developing mail art projects.",[1466],{"start":1467,"end":1468,"type":112},493,499,{"type":23,"text":1470,"spans":1471,"direction":26},"Esa otra mitad del cielo examines how these particular strategies emerge in the work of Polvo de Gallina Negra, and in Bustamante’s and Mayer’s individual practices. Mayer’s A veces me espantan mis propios sentimientos, mis fantasías (Sometimes my feelings, my fantasies frighten me, 1977) and Lo normal (1978) question the cultural fears surrounding women’s desires, suggesting that such fantasies are an integral part of life. In Instantánea a Frida (Snapshot of Frida, 1991), Bustamante embodies famed Mexican painter Frida Kahlo to critique the ways in which women’s images are commodified. Polvo de Gallina Negra’s approach to long-term projects such as ¡MADRES! (1983–87) was often programmatic, involving multiple steps—much like a recipe. Decades later, new generations of artists and organizers are revisiting and reimagining the duo’s strategies. 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Institute for Studies on Latin American Art (ISLAA) is pleased to announce the inaugural ground-floor exhibition in ​our​ new headquarters​ at 142 Franklin Street. Revisiting The Potosí Principle Archive: Histories of Art and Extraction examines the legacies of colonization through the intertwined histories of art, labor, and resource extraction in​ Latin America​. It brings together publications, films, and artworks, including works from ISLAA’s collection by artists Juan Downey, Pedro Figari, Cildo Meireles, and Claudio Perna, among others.\n\nThe exhibition explores how the colonial silver-mining industry in the city of Potosí, located in present-day Bolivia, was instrumental to the development of capitalism and Baroque art on both sides of the Atlantic. Modernity, it acknowledges, was only possible through the extraction of natural resources and the exploitation of labor in the Americas. This history set the stage for the present-day ecological disasters resulting from resource extraction.\n\nAt the center of this presentation is The Potosí Principle Archive, a series of thirty-six paperback booklets ​produced ​in 2018 that were first presented in 2021 at the Haus der Kulturen der Welt, Berlin. Installed on a large table and available for visitors to read, these booklets showcase research by artists Alice Creischer and Andreas Siekmann and elaborate this historical foundation in relation to events of the recent past in interviews, essays, and poems by artists and scholars, including Roberto Choque Canqui, Silvia Federici, María Galindo, Elvira Espejo Ayca, Eduardo Molinari, and Edgar “Huracán” Ramírez.\n\nThis reading area is surrounded by artworks, facsimiles, and films that are connected by​​ threads that wind through the gallery and are united by Creischer and Siekmann’s ​​​​research into Baroque paintings of processions—a motif used throughout history to make otherwise abstract economic processes and social categories visible. Films by Harun Farocki, Sally Gutiérrez Dewar, and Miguel Hilari respond to Baroque paintings of the city of Potosí, while reproductions of images by Melchor María Mercado and Felipe Guaman Poma de Ayala highlight Indigenous lives and perspectives in ​the South America​​​n colonies.\n\nOther works examine distinct forms of economic exchange, exploitation, and labor around the globe. Works by Juan Downey, Cildo Meireles, Claudio Perna, and Juan Carlos Romero confront resource extraction, monetary value, and political oppression in twentieth-century Latin America. Meanwhile, Matthijs de Bruijne, Zhibin Lin, Dennis Oppenheim, Konstanze Schmitt, and Territorio Doméstico grapple with financial systems, neoliberalism, and contemporary labor conditions in Europe, Asia, and North America.\n\nThis presentation at ISLAA builds on the 2010 exhibition The Potosí Principle: How Can We Sing the Song of the Lord in an Alien Land?, curated by Alice Creischer, Andreas Siekmann, and Max Jorge Hinderer Cruz, and organized by the Museo Nacional Centro de Arte Reina Sofía, Madrid, and the Haus der Kulturen der Welt, Berlin. It was significant for both its experimental curatorial approach and its examination of colonial painting, which reframed modern history by placing the South American colonies at its center. 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The exhibition features works by over twenty artists from ten countries, including videos, photographs, paintings, works on paper, and textiles developed between 1967 and 2023. Through these varied works, Threads to the South considers the medium of fiber as a conceptual tool for exploring the relationship between belonging, identity, and territory in Latin America.",[2504,2506],{"start":2505,"end":845,"type":112},76,{"start":2507,"end":2508,"type":112},337,358,{"type":23,"text":2510,"spans":2511},"The exhibition title is borrowed from the poem “I am climbing threads to the South” by Chilean artist and poet Cecilia Vicuña. Having lived most of her life in exile from her homeland, Vicuña writes of longing for her home and climbing symbolic threads that connect her to her roots in the south. 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Institute for Studies on Latin American Art (ISLAA) is pleased to announce Marcia Schvartz: Power in Looking Back. This exhibition presents a focused survey of the influential Argentine artist Marcia Schvartz’s portraits, across various media, from the 1970s to the 1990s.",[3181],{"start":110,"end":3182,"type":112},117,{"type":23,"text":3184,"spans":3185,"direction":26},"Over the past five decades, Marcia Schvartz (b. 1955) has painted people, subcultures, and social dynamics through an anti-patriarchal lens. Ranging from tender character studies to grotesque caricatures, her work offers an unflinching look at daily life that exposes its harsher realities, from the fragility of the aging body to the experience of exile. ",[],{"type":23,"text":3187,"spans":3188,"direction":26},"Bringing together paintings, pastel works on paper, archival documents, and photographs, this survey explores how Schvartz has brought visibility to individuals often pushed to the margins of society and overlooked by history. Created in the shadow of Argentina’s military dictatorship (1976–83) and its return to democracy in the 1980s, the portraits on view center experiences of displacement and disenfranchisement, sensitively rendered through an expressionistic visual language. Responding to this context of political upheaval, Schvartz joined a lineage of artists who have embraced portraiture as a form of public testimony—guided by humanist principles—that foregrounds personal experience in the face of authoritarianism.",[],{"type":23,"text":3190,"spans":3191,"direction":26},"The exhibition unfolds across three sections, each focusing on a distinct moment in Schvartz’s artistic trajectory: her erotic portraits on burlap from the postdictatorship period, her pastel drawings made during her exile in Spain, and her vignettes of domestic workers and city life. Additional materials from the artist’s archive, preserved in the ISLAA Library and Archives, illuminate her active role in the creative communities of Barcelona and Buenos Aires. For Schvartz, portraiture is a means of bearing witness and confronting dominant viewpoints—a practice of identification and remembrance in which traces of shared experience and histories of loss are brought to light.",[],{"type":23,"text":3193,"spans":3194,"direction":26},"Marcia Schvartz: Power in Looking Back is curated by Olivia Casa, curator and senior manager of exhibition programs, with Clara Prat-Gay, curatorial assistant. Additional research support was provided by Agustín Díez Fischer, senior manager of research and archives. 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Institute for Studies on Latin American Art (ISLAA) is pleased to announce The Precious Life of a Liquid Heart, on view at their new Tribeca headquarters from October 28, 2023 through February 10, 2024. Featuring works by artists Carolina Caycedo, Chonon Bensho, Nádia Taquary, Seba Calfuqueo, UÝRA, and the collective Mujeres Muralistas Soi Noma, the exhibition inspires environmental consciousness by offering alternatives to the colonial ways of understanding nature.",[3596],{"start":110,"end":3597,"type":112},114,{"type":23,"text":3599,"spans":3600},"Concentrating approximately a third of the planet's freshwater resources, Latin America has the world’s highest ratio between the number of inhabitants and the volume of river waters, but with the expansion of colonialistic, extractive practices, an unprecedented water crisis has been growing in the region. Today, more than 150 million people live in areas without access to clean water. 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Institute for Studies on Latin American Art (ISLAA) is pleased to announce José Antonio Fernández-Muro: Geometry in Transfer, curated by Megan Kincaid. The second in a series on Latin American modernism at ISLAA, this exhibition is the first to comprehensively explore the Spanish Argentine artist’s luminous transfer paintings, which he developed in Buenos Aires in the 1950s and later elaborated on while living in New York City in the 1960s.\n\nRather than isolate what the artist termed his two “fundamental epochs” in Buenos Aires and New York, this exhibition emphasizes their critical continuities—visual, material, and ideological—to reveal Fernández-Muro’s displacement and transformation of Argentine abstraction. Presenting nine transfer paintings from ISLAA’s collection, it begins with two works produced during an understudied moment in Argentine modernism following the major breakthroughs, and unrealized utopian promises, of the artists associated with Asociación Arte Concreto-Invención (AACI) and Grupo Madí. These early transfer paintings represent a reckoning with the limitations of concretism, integrating directions in abstraction from abroad and incorporating discoveries resulting from his participation in the collective Buen diseño para la industria in the mid-1950s. With dizzying optical effects and expressive surfaces, achieved by overlaying perforated metal grates and stencils onto complex, sweeping geometric assemblies, this transitional output pushed his painterly rhetoric beyond the constraints of hard-edged geometry, evoking associations with Op art and lyrical abstraction alike. \n\nAfter relocating to Manhattan in the 1960s, Fernández-Muro returned to recognizable imagery, re-creating the visual imaginary of the urban landscape through impressions of sidewalks, sewer grates, and manhole covers. Celebrated and widely collected at the time, these frottage and embossed aluminum foil works evidence Fernández-Muro’s contact with the pervasive Pop art and assemblage sensibilities germinating in New York. With their insistent geometries, found in transfers of circular manhole covers or rectangular sewer grates, and their recourse to the grid, evident in rows of pennies or stamps, the paintings from his New York period further teased at the seams of rigid, non-representational abstraction.\n\nThe title of the exhibition, Geometry in Transfer, refers at once to Fernández-Muro’s expansion of geometric abstraction and his translation of Argentine modernist painting amid the visual preoccupations of the 1960s New York avant-garde. In the show’s concluding section, four small compositions that each focus on a single symbol or device are presented alongside never-before-displayed archival materials that clarify the artist’s rigorous multistep process—affirming his unique contributions to mid-century painting.\n\nJosé Antonio Fernández-Muro: Geometry in Transfer is accompanied by an original publication including an essay by curator Megan Kincaid. Physical copies are available free of charge at ISLAA and for download online. \n\nISLAA is open from 2 to 5 PM on Tuesday and from 2 to 7 PM on Wednesday through Friday. Proof of vaccination is required in line with New York City regulations. Guests must wear masks and adhere to all COVID-19 guidelines while on-site. Although walk-ins are allowed, visitors are encouraged to book appointments in advance through ISLAA’s online scheduler. \n\nFor press inquiries, please email Olivia Casa, ISLAA’s exhibition and curatorial manager, at olivia.casa@islaa.org.\n\n\nABOUT VISTAS 6: SARAH GRILO AND JOSÉ ANTONIO FERNÁNDEZ-MURO",[3864,3866,3869,3871,3877,3880],{"start":110,"end":3865,"type":112},128,{"start":3867,"end":3868,"type":112},2370,2390,{"start":2701,"end":3870,"type":112},2913,{"start":3872,"end":3873,"type":630,"data":3874},2931,2954,{"link_type":73,"url":3875,"target":3876},"https://islaa.org/bookshop/jos-antonio-fern-ndez-muro","_self",{"start":987,"end":3878,"type":630,"data":3879},3240,{"link_type":73,"url":872,"target":633},{"start":3881,"end":3882,"type":630,"data":3883},3421,3437,{"link_type":73,"url":3884,"target":633},"https://appointments.seesawmap.com/book/26753/",{"type":23,"text":3886,"spans":3887,"direction":26},"Coinciding with the exhibition, the sixth issue of ISLAA’s serial publication Vistas: Critical Approaches to Modern and Contemporary Latin American Art is devoted to Fernández-Muro and fellow artist Sarah Grilo, his spouse. This issue was made possible thanks to the Estate of Sarah Grilo and José Antonio Fernández-Muro, which generously loaned their archive to ISLAA. José Antonio Fernández-Muro: Geometry in Transfer and Vistas 6: Sarah Grilo and José Antonio Fernández-Muro are the result of several research initiatives: the ISLAA Writer in Residence program, the ISLAA Travel Grant program, and the Duke House Exhibition Series at the Institute of Fine Arts, NYU. Physical copies of Vistas 6 are available free of charge at ISLAA and for download online.\n\n\nABOUT THE ARCHIVE",[3888,3889,3892,3895,3897],{"start":2516,"end":3445,"type":112},{"start":2516,"end":3445,"type":630,"data":3890},{"link_type":73,"url":3891,"target":633},"https://islaa.org/bookshop/vistas-6",{"start":3893,"end":3894,"type":112},370,420,{"start":412,"end":3896,"type":112},477,{"start":3898,"end":3899,"type":630,"data":3900},760,761,{"link_type":73,"url":3901,"target":633},"https://www.islaa.org/publications/vistas6",{"type":23,"text":3903,"spans":3904,"direction":26},"ISLAA is honored to have reposited the Archive of Sarah Grilo and José Antonio Fernández-Muro since 2019. Spanning three decades from the 1950s to the 1980s, it charts the two painters’ artistic progressions as they experimented with different styles and forged forward in their careers, while offering an intimate glimpse into their shared familial life. 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This event marks the second installment of ISLAA’s new on-site exhibitions program, whose inaugural series features guest curators and focuses on conceptual art movements across Latin America.",[4687],{"start":4688,"end":4689,"type":112},111,156,{"type":23,"text":4691,"spans":4692,"direction":26},"The Counter-Public Sphere in the Condor Years assembles key works of South American contestatory public art from 1968 to 1979: a flag by Antonio Dias (Brazilian) and documentation of actions by Horacio Zabala (Argentine), Lotty Rosenfeld (Chilean), and CADA (Colectivo Acciones de Arte, Chilean), a group comprising Raúl Zurita, Fernando Balcells, Diamela Eltit, Lotty Rosenfeld, and Juan Castillo.",[4693],{"start":156,"end":145,"type":112},{"type":23,"text":4695,"spans":4696,"direction":26},"The exhibition foregrounds a historical moment pervaded by political repression and brutality, which gave rise to symbolic and often surreptitious modes of artistic production. Throughout South America, military dictatorships rose and fell with backing from the Cold War-era Operation Condor, a US foreign policy platform referenced in the show’s title, whose disastrous consequences transformed daily life—and contemporary art practices. Where artists could not explicitly represent violent realities, they turned to allusive and public interventions to mount dissent. As such, the exhibition invokes Alexander Kluge’s notion of the “counter-public sphere,” a critical response to Jürgen Habermas’s concept of the “public sphere” of social life, to describe artworks that undermine authoritarian control through indirect but publicly visible means.",[],{"type":23,"text":4698,"spans":4699,"direction":26},"ISLAA is proud to offer an accompanying publication with essays by Nicolás Guagnini and Tobi Maier, which is available at our space and online. 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ISLAA welcomes curators and researchers to utilize our institutional resources toward producing new exhibitions and original scholarship on Latin American art. ",[4710],{"start":4711,"end":4712,"type":112},435,466,{"type":23,"text":4714,"spans":4715,"direction":26},"The Counter-Public Sphere in the Condor Years will be on view at ISLAA from October 15, 2020, through January 15, 2021. 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Lamelas, At Sunrise, 2015. © the artist. 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Curated by Mariano López Seoane and Bernardo Mosqueira, Eros Rising presents drawings, paintings, and photographs by Artur Barrio, Oscar Bony, Carmelo Carrá, Feliciano Centurión, David Lamelas, Castiel Vitorino Brasileiro, Carlos Motta, Wynnie Mynerva, La Chola Poblete, and Tadáskía that seek to give form to the intangible experience of eroticism.",[5123,5126],{"start":5124,"end":5125,"type":112},81,137,{"start":5127,"end":5128,"type":112},227,240,{"type":23,"text":5130,"spans":5131,"direction":26},"Inspired by a series of pastel drawings by David Lamelas (b. 1946, Argentina) from 2014 to 2015, Eros Rising explores how artists have subverted conventional representations of sex—often based in the objectification and categorization of the body—to instead convey the myriad sensations bound up in erotic encounters. The featured artists reimagine sensuality in surreal representations that question the limits between the real and the fictitious, decentering the body by fragmenting it or displacing it altogether.",[5132],{"start":5133,"end":5134,"type":112},97,109,{"type":23,"text":5136,"spans":5137,"direction":26},"Viewed collectively, these works challenge codified expressions of sensuality and static definitions of the human to envision the body as radically open. Encompassing a broad range of perspectives and styles, Eros Rising presents a cross-section of intergenerational artists who have contested the restrictive boundaries of identification, grasping for more fluid and expansive conceptions of the self and the erotic.",[5138],{"start":1517,"end":5139,"type":112},221,{"type":23,"text":5141,"spans":5142,"direction":26},"In Lamelas’s works, human forms are evoked through celestial phenomena—a rising sun or a flowing meteor shower—that find the mundane in the cosmic. Drawings by Artur Barrio (b. 1945, Portugal), Tadáskía (b. 1993, Brazil), and Castiel Vitorino Brasileiro (b. 1996, Brazil) similarly propose other ways of imagining the body and the surrounding landscape, dissolving the barrier between the self and the outside world. Meanwhile, Feliciano Centurión (1962–1996, Paraguay) and La Chola Poblete (b. 1989, Argentina) tease out mythological references from ancient Greece and Andean lore to approximate the otherworldliness of desire.",[],{"type":23,"text":5144,"spans":5145,"direction":26},"While many of these works approach the languages of abstraction, others rethink the canon of figuration by transforming the body. An untitled 1968 drawing by Carmelo Carrá (b. 1945, Italy) fractures the human form through the broken outline, while the large watercolor Formas de alargar un pene (Ways to Enlarge a Penis, 2021) by Wynnie Mynerva (b. 1993, Peru) elongates and warps the phallus. The body becomes grotesque in a small ink drawing by Carlos Motta (b. 1978, Colombia), from his series We The Enemy (2019), which reflects on the designation of certain sexual identities as “deviant” or “perverse” in Christian traditions. Two photographs by Oscar Bony (1941–2002, Argentina), which were censored for their erotic content when they were first displayed in Argentina in 1976, similarly depict the body in segments, zooming in on two bright red, intertwining tongues.",[5146,5148],{"start":5147,"end":1480,"type":112},269,{"start":5149,"end":5150,"type":112},497,509,{"type":23,"text":5152,"spans":5153,"direction":26},"Eros Rising will be accompanied by a booklet featuring an essay by the exhibition’s curators, Mariano López Seoane and Bernardo Mosqueira. Physical copies will be distributed free of charge at ISLAA, and a digital version will be made available to download on ISLAA’s website in mid-June.",[5154,5155],{"start":156,"end":967,"type":112},{"start":1878,"end":4504,"type":630,"data":5156},{"link_type":73,"url":5157,"target":633},"https://islaa.org/bookshop/eros-rising",{"type":23,"text":5159,"spans":5160,"direction":26},"The exhibition will open with a reception on Thursday, June 16 from 5 to 8 PM. Capacity will be limited, and guests are asked to sign up in advance using this online form.",[5161],{"start":5162,"end":4478,"type":630,"data":5163},154,{"link_type":73,"url":5164,"target":633},"https://forms.gle/mgdh31GZUHpBwgxj9",{"type":23,"text":5166,"spans":5167,"direction":26},"ISLAA is open from 2 to 5 PM on Tuesday and from 2 to 7 PM from Wednesday to Friday. Guests must wear masks while on-site. 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This exhibition explores a pivotal period of work by the visionary Argentine artist Luis Fernando Benedit (1937–2011), highlighting his undeniable contributions to the international development of Conceptualism and Systems art. As the first large-scale exhibition of this groundbreaking artist in New York since his debut at The Museum of Modern Art (MoMA) in 1972, Luis Fernando Benedit: Invisible Labyrinths features more than forty works that have never before been exhibited in the United States, including paintings and Plexiglas bioart habitats. 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Responding to a context of increasing social surveillance and administration of life, Benedit’s blend of ecology, art, and cybernetics raises questions about communication, control, and where the natural and artificial worlds overlap. ",[5605,5606,5609],{"start":527,"end":5139,"type":112},{"start":5607,"end":5608,"type":112},320,329,{"start":409,"end":5610,"type":112},440,{"type":23,"text":5612,"spans":5613,"direction":26},"At ISLAA, the artist’s vivid oil and acrylic paintings lead visitors into the show, followed by his habitats for living animals and insects, alongside vast archival material, including drawings and documentation of the works’ original presentations. The exhibition also features Laberinto invisible (Invisible Labyrinth, 1971), an interactive installation of mirrors, lights, and an alarm, which was a milestone work in Benedit’s oeuvre and a formative contribution to Conceptualism. 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Institute for Studies on Latin American Art (ISLAA) is delighted to announce the opening of Ñande Róga: The Feliciano Centurión Archival Collection, an exhibition exploring the work, communities, and context of Paraguayan artist Feliciano Centurión (1962–1996). During his brief but prolific career, Centurión developed a unique body of work inspired by folk art and queer aesthetics, often incorporating household textiles, references to the natural world, and poignant phrases through which he reflected on personal and universal experience.",[5939],{"start":845,"end":3445,"type":112},{"type":23,"text":5941,"spans":5942,"direction":26},"Ñande róga means “our home” in Guaraní, which has been the primary language spoken in Paraguay since before the Spanish colonial conquest. There are two ways of addressing the first-person plural in Guaraní: ñande refers to an inclusive “we,” where everyone participates, while ore implies that some member of a social group has been excluded. This difference, which is absent in Spanish and English, reveals an insightful understanding of community and belonging.",[5943,5944,5946],{"start":156,"end":936,"type":112},{"start":5945,"end":527,"type":112},208,{"start":5947,"end":5948,"type":112},278,281,{"type":23,"text":5950,"spans":5951,"direction":26},"Inspired by this notion of collectivity, this exhibition reflects on the life and work of Centurión through his archival collection at ISLAA. Centurión’s practice was profoundly influenced by the countryside of Paraguay, the underground cultural scene of Buenos Aires in the 1990s, and the LGBT liberation movements of postdictatorship Argentina. Resulting from the resonances of these various communities and his deep interest in Paraguayan crafts such as ñandutí textiles, his works are evocative of domesticity, care, healing, and spirituality.",[5952],{"start":5953,"end":5954,"type":112},457,464,{"type":23,"text":5956,"spans":5957,"direction":26},"The exhibition brings together drawings, textiles, and sculptural objects with materials from Centurión’s archival collection at ISLAA, many of which have never been published or shown publicly. These items offer insight into Centurión’s studio practice and his relationships with other artists and thinkers working in Buenos Aires and Asunción in the 1990s. For Centurión—a gay man living through the most tumultuous years of the ongoing AIDS epidemic in Latin America—the bonds of friendship he made during this period were a powerful grounding force in both his art and his life. It is clear from the works and archival ephemera presented in Ñande Róga that Centurión’s work existed within the inclusive Guaraní “we.”",[5958],{"start":5959,"end":5960,"type":112},645,655,{"type":23,"text":5962,"spans":5963,"direction":26},"This linguistic nuance fueled the development of an installation design composed of concentric circles, in which original artworks are surrounded by a perimeter of facsimiles of press clippings, documentary photographs, and notes drawn from Centurión’s archival collection at ISLAA. Together, they provide new perspectives on the lives and practices of Centurión and his peers.",[],{"type":23,"text":5965,"spans":5966,"direction":26},"Ñande Róga is curated by Eduardo Andres Alfonso, Angelica Arbelaez, María Carri, Rachel Eboh, Laura Hakel, Kyle Herrington, and Guy Weltchek, with guidance from K.ari.n Schneider and ISLAA. This iteration is organized by Olivia Casa, ISLAA’s exhibition and curatorial manager.",[5967],{"start":156,"end":936,"type":112},{"type":23,"text":5969,"spans":5970,"direction":26},"This exhibition was originally presented at the Hessel Museum of Art in Annandale-on-Hudson, New York, in December 2021, as the culmination of a fall 2021 graduate course at the Center for Curatorial Studies, Bard College, led by K.ari.n Schneider and supported by ISLAA as part of its Research Seminar initiative.",[],{"type":23,"text":5972,"spans":5973,"direction":26},"Ñande Róga will open with a reception on Thursday, March 16 from 5 to 8 PM. Guests are asked to sign up in advance using this online form.\nÑande Róga is accompanied by a booklet featuring a reflection by artist Mónica Giron and designed by Ramon Tejada.",[5974,5975,5979],{"start":156,"end":936,"type":112},{"start":5976,"end":5125,"type":630,"data":5977},121,{"link_type":73,"url":5978,"target":633},"https://forms.gle/o9Sgcv3Qy3xb64we7",{"start":846,"end":5980,"type":630,"data":5981},177,{"link_type":73,"url":5982,"target":633},"https://islaa.org/bookshop/nande-roga-the-feliciano-centurion-archival-collection",{"type":23,"text":5984,"spans":5985,"direction":26},"ISLAA will offer free in-person tours of Ñande Róga, led by exhibition curators and ISLAA staff, on April 14, April 21, and May 5. 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This exhibition displays, for the first time, the thirty-four collages in Felipe Ehrenberg’s Testamento (1968–2017), a retrospective and reflective assemblage of documents, photographs, writings, and drawings compiled at the very end of the artist’s decades-long career. A coda to Ehrenberg’s monumental practice, Testamento is also the fourth and final show in ISLAA’s inaugural series of exhibitions devoted to mail art and conceptual practices in Latin America.",[6403,6405,6407],{"start":6404,"end":1456,"type":112},94,{"start":6406,"end":5127,"type":112},216,{"start":6408,"end":6409,"type":112},438,449,{"type":23,"text":6411,"spans":6412,"direction":26},"Ehrenberg’s creative activity was propelled by an indefatigable drive for experimentation and an unyielding commitment to the expansive possibilities of art. Preferring the self-defined descriptor of “neologist”—one who explores new ideas—to “artist,” he developed a diverse and influential body of work encompassing performance, mail art, artists’ books, and paintings that probed art’s role in relationship to society. He became closely aligned with the Fluxus movement in the 1960s and ’70s, cofounding the Beau Geste Press, a publishing haven for visual poets, neo-Dadaists, and Fluxus artists that privileged books as artistic media. In 1976, he formed the Grupo Proceso Pentágono, a pivotal collective of Mexico’s grupos movement, whose installations and actions incisively critiqued national politics and state repression under the stronghold of the PRI party. 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Veinticinco años más tarde fue reunida, catalogada y documentada a través de un extenso proceso de investigación y restauración.",[6961],{"start":2517,"end":6775,"type":112},{"type":23,"text":6963,"spans":6964,"direction":26},"La exposición en Malba busca acercarnos a la obra de este artista muy querido por sus afectos y allegados montevideanos, pero relativamente desconocido para el público del arte. Dos momentos principales de su carrera son abordados para dar cuenta de la riqueza expresiva de su trabajo. Por una parte, se exhiben sus mundos fantásticos –también llamados por él mismo Rituales Dorianos–, donde la sexualidad y los imaginarios confluyen con referencias mitológicas clásicas y una figuración llena de color y expresividad. 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Institute for Studies on Latin American Art (ISLAA) is delighted to announce the opening of Poema Colectivo Revolución, curated by Luis Camnitzer, in its New York City space. Bringing together more than three hundred contributions to the international mail art project Poema Colectivo Revolución, this exhibition continues the inaugural series of ISLAA’s on-site curatorial program, which highlights conceptual strategies in Latin American art. ",[7126,7127],{"start":845,"end":1456,"type":112},{"start":7128,"end":5616,"type":112},273,{"type":23,"text":7130,"spans":7131,"direction":26},"In 1981, the Mexican artist group Colectivo 3—comprising Aarón Flores, Araceli Zúñiga, Blanca Noval Vilar, and César Espinosa—issued an open call for contributions to a collaborative artwork titled Poema Colectivo Revolución. Inspired by the 1979 Sandinista-led uprising in Nicaragua, the group sought to produce a “collective poem” about the theme of revolution, inviting artists and writers to submit their responses to this open-ended prompt on copies of the same letter-size sheet of paper. ",[7132],{"start":7133,"end":7134,"type":112},198,224,{"type":23,"text":7136,"spans":7137,"direction":26},"The open call received hundreds of mailed-in replies from forty-three countries that, viewed in unison, map out a network of solidarity at a moment of mounting global tensions and economic turmoil. Encompassing typed and handwritten verses, ink and pencil drawings, newspaper collages, and Xerox photocopies, the project assembled a vast array of artistic approaches and ideological perspectives to creatively imagine alternatives to social realities. While some contributors directly addressed the political situation in Nicaragua, most reflected on personal interests and on the ideals and implications of revolutionary action, with works ranging from playfully subversive to skeptically critical. Revisited today, Poema Colectivo Revolución remains a remarkable document of mail art whose radical spirit and aesthetic eccentricity continue to resonate, forty years after its creation.",[7138],{"start":7139,"end":7140,"type":112},717,743,{"type":23,"text":7142,"spans":7143,"direction":26},"This exhibition presents the majority of the existing contributions to Poema Colectivo Revolución, including 338 multimedia works on paper. 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Carrión (1941–1989) was a pioneering figure in mail art, a movement and a medium that produced a unique international network of creative exchange in the 1970s and 1980s. Throughout his life, he developed an important oeuvre that spanned performance, video art, and books. Above all, Carrión was a cultural agitator and a social mediator. His ability to build networks was reflected not only in his prominent role in the mail art movement but also through Other Books and So, a gathering space he founded and ran in Amsterdam. His influential essay “Mail Art and the Big Monster” delineates the principles and goals of mail art, charts its evolution, and classifies it according to its formal characteristics and modes of circulation. More radically, Carrión argues that due to its reliance on the distribution network of the postal service, mail art “knocks at the doors of the castle where the Big Monster lives.” Ulises Carrión: The Big Monster, curated by Aimé Iglesias Lukin, director and chief curator of visual arts at Americas Society, brings together a selection of mail art projects that Carrión developed between 1973 and 1983, erasing the boundaries between artwork, archive, and document, while questioning fundamental notions of modern art. Carrión’s interventions allow us to rethink the status of the autonomous work of art and the commercial and bureaucratic systems under which it circulates, as well as the role of authorship and property in contemporary culture.",[7668],{"start":7669,"end":7670,"type":112},923,954,{"type":23,"text":7672,"spans":7673,"direction":26},"The exhibition is accompanied by the original publication Ulises Carrión: The Big Monster, a richly illustrated booklet that includes essays by Aimé Iglesias Lukin and Zanna Gilbert covering the genesis and main projects of Carrión’s visionary, monumental work.",[7674,7678],{"start":2547,"end":7675,"type":630,"data":7676},89,{"link_type":73,"url":7677,"target":633},"https://islaa.org/publications/ulises-carri%C3%B3n-the-big-monster#product:15564@2:url",{"start":7679,"end":7675,"type":112},58,"single_column_content$28b9be85-f7c7-43e6-8d02-2c1b410a70bb",{"variation":883,"version":102,"items":7682,"primary":7684,"id":7689,"slice_type":147,"slice_label":7},[7683],{},{"title":887,"video":7685,"video_caption":7688},{"link_type":73,"key":7686,"url":7687},"36d133ca-85ef-4e25-94e1-c10c6d134840","https://vimeo.com/417257015",[],"single_column_content$0051596f-d052-425d-ba4d-14daa503e76d",{"variation":101,"version":102,"items":7691,"primary":7692,"id":7698,"slice_type":147,"slice_label":7},[],{"text":7693},[7694],{"type":23,"text":1162,"spans":7695,"direction":26},[7696],{"start":156,"end":157,"type":158,"data":7697},{"label":160},"single_column_content$21261b46-4e5b-4f68-b39d-57b0d2d1a6af",{"variation":101,"version":102,"items":7700,"primary":7817,"id":7818,"slice_type":243,"slice_label":7},[7701,7714,7724,7736,7748,7760,7771,7783,7795,7806],{"image":7702,"image_caption":7709},{"dimensions":7703,"alt":7705,"copyright":7,"url":7706,"id":7707,"edit":7708},{"width":7704,"height":973},8036,"Installation view of Ulises Carrión: The Big Monster exhibition showing envelopes, photographs, and various objects mounted to the gallery walls.","https://images.prismic.io/islaa/cae08fee-58d0-47b2-a1e8-ffc0faa039f4_UC.TBM_022_AS+%281%29.jpg?auto=compress,format","ZSIxmRIAACMAze6s",{"x":156,"y":156,"zoom":172,"background":915},[7710],{"type":23,"text":7711,"spans":7712},"Installation view of Ulises Carrión: The Big Monster, Institute for Studies on Latin American Art (ISLAA), 2019. 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Photo: Arturo Sánchez.",[7831],{"start":179,"end":3605,"type":112},[7833],{"type":23,"text":7834,"spans":7835},"Curated by Aimé Iglesias Lukin, Ulises Carrión: The Big Monster presented a selection of mail art projects that Ulises Carrión developed between 1973 and 1983, erasing the boundaries between artwork, archive, and 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Institute for Studies on Latin American Art (ISLAA) is thrilled to present Political/Subjective Maps: Anna Bella Geiger, Magali Lara, Lea Lublin, and Margarita Paksa. Curated by Cecilia Fajardo-Hill, the exhibition will bring together key works by Anna Bella Geiger (Brazilian, b. 1933), Magali Lara (Mexican, b. 1956), Lea Lublin (French Argentine, 1929–1999), and Margarita Paksa (Argentine, 1933–2020). It will explore how these four visionary Conceptual artists have appropriated the visual language of maps to highlight entrenched power structures; mine social, political, emotional, and personal subjects; and imagine new ways of apprehending the world.\n",[7952,7953],{"start":110,"end":2517,"type":112},{"start":7954,"end":7024,"type":112},100,{"type":23,"text":7956,"spans":7957,"direction":26},"Maps have an extensive legacy in the history of Latin American art—from Joaquín Torres-García’s América Invertida (Inverted America, 1943) to Juan Downey’s Map of America (1975)—and have offered productive terrain for confronting the colonialist systems underpinning international dynamics. Whereas maps are often accepted as neutral, depoliticized, and scientific, artists have emphasized their origins as constructed and symbolic representations, informed by the biased viewpoints and covert objectives of their creators. From the ancient period through the European conquests to the present day, cartography has been used to cement hierarchies, demarcate territory, and visualize power relationships through elements such as scale, positioning, and orientation.",[7958,7960],{"start":845,"end":7959,"type":112},113,{"start":4689,"end":4351,"type":112},{"type":23,"text":7962,"spans":7963,"direction":26},"Engaging a variety of mediums and conceptual approaches, Geiger, Lara, Lublin, and Paksa have challenged the colonialist and patriarchal perspectives embedded within map making in their work. Geiger defies neocolonial categories in her reconceived maps, while Paksa examines histories of state violence in Uruguay and Argentina in series such as Diagramas de batallas (1970–76). In opposition to the scientific rationality of ordering systems such as charts and atlases, Lara addresses intimacy, emotion, and desire in her drawings and watercolors. By contrast, Lublin constructed interactive environments such as Fluvio subtunal (Subtunnel Flow, 1969) that sought to generate new, liberatory ways of experiencing art.",[7964,7967],{"start":7965,"end":7966,"type":112},346,368,{"start":7968,"end":118,"type":112},614,{"type":23,"text":7970,"spans":7971,"direction":26},"Thematically and spatially, the exhibition is divided into two broad topics—subjectivity and politics—and moves from the interior realms of the mind and the body to the exterior domains of the public and the political. The first section explores mapping as a means for producing a collective experience in Lublin’s work and concludes with Lara’s application of cartography to depict personal subjectivity and feminine identity. The second section considers representations of geopolitical dynamics in Geiger’s work, and the politics of resistance and denunciation in Paksa’s practice.",[],{"type":23,"text":7973,"spans":7974,"direction":26},"By presenting these diverse projects side by side, Political/Subjective Maps illuminates the multifaceted uses of the map as a tool for challenging, distilling, and understanding sociopolitical and personal experience. Through their distinct conceptual practices, Geiger, Lara, Lublin, and Paksa have pushed the visual language of cartography in new directions. By reframing their work in relation to this subject, this exhibition provides unique opportunities for further study of the role and importance of mapping in their individual practices, building a foundation for additional research and scholarship. ",[7975],{"start":4701,"end":2505,"type":112},{"type":23,"text":7977,"spans":7978,"direction":26},"Political/Subjective Maps is accompanied by a booklet featuring an essay by Cecilia Fajardo-Hill and designed by Ramon Tejada. Physical copies will be distributed free of charge at ISLAA, and a digital version is available to download on this page.",[7979,7980],{"start":156,"end":430,"type":112},{"start":4504,"end":403,"type":630,"data":7981},{"link_type":73,"url":7982,"target":3876},"https://islaa.org/bookshop/political-subjective-maps",{"type":23,"text":7984,"spans":7985,"direction":26},"The exhibition will open with a reception on Thursday, October 13 from 5 to 8 PM. Guests are asked to sign up in advance using this online form.",[7986],{"start":6436,"end":7987,"type":630,"data":7988},143,{"link_type":73,"url":7989,"target":633},"https://forms.gle/D5vm5zgysDJ63vDq5",{"type":23,"text":7991,"spans":7992,"direction":26},"ISLAA is open Tuesday through Friday from 12 to 6 PM. Face coverings are recommended but not required while on site. Although walk-ins are allowed, visitors are encouraged to book appointments in advance through ISLAA’s online scheduler.",[7993],{"start":5995,"end":5996,"type":630,"data":7994},{"link_type":73,"url":5171,"target":633},{"type":23,"text":5173,"spans":7996,"direction":26},[],"single_column_content$5d2e7fee-4951-4e0f-86be-d71fbc1d4ce3",{"variation":101,"version":102,"items":7999,"primary":8001,"id":8011,"slice_type":147,"slice_label":7},[8000],{},{"text":8002},[8003,8008],{"type":23,"text":8004,"spans":8005,"direction":26},"ISLAA EXHIBITION TALKS",[8006],{"start":156,"end":2610,"type":158,"data":8007},{"label":160},{"type":23,"text":8009,"spans":8010,"direction":26},"In conjunction with the exhibition, ISLAA will present a series of live and prerecorded talks on the work of Anna Bella Geiger, Magali Lara, Lea Lublin, and Margarita Paksa. Geiger and Lara will discuss the role of cartography in their work in two separate online conversations on February 2 and February 7. Scholars Stephanie Weber and Ionit Behar will present prerecorded lectures, published online, that situate map-making strategies within Lublin’s and Paksa’s careers.",[],"single_column_content$e03ea644-ba72-41b9-88b2-f55f85ac2486",{"variation":101,"version":102,"items":8013,"primary":8014,"id":8020,"slice_type":147,"slice_label":7},[],{"text":8015},[8016],{"type":23,"text":1833,"spans":8017,"direction":26},[8018],{"start":156,"end":901,"type":158,"data":8019},{"label":160},"single_column_content$12083f0a-d5fa-4b81-8ef6-4389fab334f3",{"variation":101,"version":102,"items":8022,"primary":8125,"id":8126,"slice_type":243,"slice_label":7},[8023,8035,8048,8061,8072,8085,8097,8110],{"image":8024,"image_caption":8030},{"dimensions":8025,"alt":7,"copyright":7,"url":8027,"id":8028,"edit":8029},{"width":8026,"height":260},1367,"https://images.prismic.io/islaa/6102857c-ff58-4a2e-a605-c93bb5c9deb7_Geiger_1_2022-09-09-231949_udgz.jpg?auto=compress,format","ZRHeuhAAACsASaMP",{"x":156,"y":156,"zoom":172,"background":915},[8031],{"type":23,"text":8032,"spans":8033},"Anna Bella Geiger, Correntes culturais (Cultural Currents), 1975. © the artist. 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Courtesy Nicolas Lublin / 1 Mira Madrid gallery",[8096],{"start":967,"end":3256,"type":112},{"image":8098,"image_caption":8104},{"dimensions":8099,"alt":7,"copyright":7,"url":8101,"id":8102,"edit":8103},{"width":260,"height":8100},1298,"https://images.prismic.io/islaa/ceaa04b3-d2ec-417f-ad45-1d449859c7ed_Paksa_1.jpg?auto=compress,format","ZRHfGRAAACoASaOf",{"x":156,"y":156,"zoom":172,"background":915},[8105],{"type":23,"text":8106,"spans":8107},"Margarita Paksa, Libres o muertos (Free or Dead), from the series Diagramas de batallas (Battle Diagrams), 1975. © the artist. Courtesy estate of the artist. 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He destroyed his Cosas in 1966, just three years before his untimely death. Though the materials featured in this exhibition represent some of the only surviving traces of the Cosas, Santantonín’s archive reveals that he advocated for this work to be shown in museums up until his death. Through the revival of these and other materials, Rubén Santantonín: Hoy a mis mirones offers a long overdue exploration of Santantonín’s artistic ideas and his contributions to the history of art of the 1960s in Argentina and beyond.",[8510,8511,8513],{"start":4689,"end":7147,"type":112},{"start":8512,"end":5607,"type":112},315,{"start":3896,"end":8514,"type":112},513,{"type":23,"text":8516,"spans":8517,"direction":26},"Rubén Santantonín: Hoy a mis mirones is cocurated by Ray Camp, Hayoung Chung, Bruna Grinsztejn, Cicely Haggerty, Lekha Jandhyala, Ariana Kalliga, Sibia Sarangan, and Micaela Vindman, with generous guidance from professor and curator Mariano López Seoane. The exhibition and accompanying publication result from a graduate seminar at CCS Bard supported by ISLAA as part of the ISLAA Artist Seminar Initiative.",[8518,8519],{"start":156,"end":983,"type":112},{"start":8520,"end":8521,"type":630,"data":8522},355,360,{"link_type":73,"url":8523,"target":633},"https://islaa.org/",{"type":23,"text":8525,"spans":8526,"direction":26},"Opening Reception: Thursday, December 5, 5 PM–7 PM",[],{"type":23,"text":138,"spans":8528,"direction":26},[],{"type":23,"text":1503,"spans":8530,"direction":26},[],{},{"dimensions":8533,"alt":8464,"copyright":7,"url":8465,"id":8466,"edit":8534,"Square - Large":8535,"Square - Small":8540,"Horizontal":8544},{"width":8462,"height":8463},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":8536,"alt":7,"copyright":7,"url":8537,"id":8466,"edit":8538},{"width":260,"height":260},"https://images.prismic.io/islaa/Z0SneK8jQArT1SXF_ARC.RS.0063.3.098.1.jpg?auto=format,compress&rect=1082,0,3452,3452&w=1000&h=1000",{"x":8539,"y":156,"zoom":172,"background":173},1082,{"dimensions":8541,"alt":7,"copyright":7,"url":8542,"id":8466,"edit":8543},{"width":266,"height":266},"https://images.prismic.io/islaa/Z0SneK8jQArT1SXF_ARC.RS.0063.3.098.1.jpg?auto=format,compress&rect=1082,0,3452,3452&w=500&h=500",{"x":8539,"y":156,"zoom":172,"background":173},{"dimensions":8545,"alt":7,"copyright":7,"url":8546,"id":8466,"edit":8547},{"width":266,"height":272},"https://images.prismic.io/islaa/Z0SneK8jQArT1SXF_ARC.RS.0063.3.098.1.jpg?auto=format,compress&rect=0,41,5616,3370&w=500&h=300",{"x":156,"y":2666,"zoom":172,"background":173},[8549],{"type":23,"text":8470,"spans":8550,"direction":26},[8551],{"start":983,"end":2666,"type":112},[8553],{"type":23,"text":8554,"spans":8555,"direction":26},"Bringing together materials from the ISLAA Library and Archives, Rubén Santantonín: Hoy a mis mirones is among the first exhibitions to focus on the Argentine artist Rubén Santantonín (1919–1969) since his passing. The exhibition and accompanying publication result from a graduate seminar at CCS Bard supported by ISLAA as part of the ISLAA Artist Seminar Initiative.",[8556],{"start":1906,"end":489,"type":112},[8558,8562],{"page":8559},{"id":1531,"type":8,"tags":8560,"lang":17,"slug":1533,"first_publication_date":1534,"last_publication_date":1535,"uid":1533,"link_type":30,"key":8561,"isBroken":47},[11],"496a6796-95cd-4881-9aa1-8390bb569f44",{"page":8563},{"id":1539,"type":8,"tags":8564,"lang":17,"slug":1541,"first_publication_date":1542,"last_publication_date":1543,"uid":1544,"link_type":30,"key":8565,"isBroken":47},[11],"2271099d-6f67-4346-bcde-2625d034dbef",[8567],{"shopify_product_handle":7},{"id":8569,"uid":8570,"url":7,"type":464,"href":8571,"tags":8572,"first_publication_date":8573,"last_publication_date":8574,"slugs":8575,"linked_documents":8576,"lang":17,"alternate_languages":8577,"data":8578},"aYTSJxEAAB8Ad-xP","second-saturday-tours-february-2026","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aYTSJxEAAB8Ad-xP%22%29+%5D%5D",[11],"2026-02-05T17:40:00+0000","2026-02-10T23:35:43+0000",[470],[],[],{"title":474,"series":8579,"hero_image":8582,"hero_caption":8593,"location":8598,"date":8601,"end_date":7,"institutions":8602,"linked_material":8603,"slices":8606,"meta_description":7,"meta_image":8624,"meta_title":7,"preview_image":8628,"preview_description":8641,"preview_image_caption":8645,"related_content":8646,"related_products":8659},[8580],{"series":8581},{"link_type":30},{"dimensions":8583,"alt":7,"copyright":7,"url":169,"id":170,"edit":8584,"Horizontal":8585,"Square":8589},{"width":167,"height":168},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":8586,"alt":7,"copyright":7,"url":8587,"id":170,"edit":8588},{"width":266,"height":272},"https://images.prismic.io/islaa/aYTVj90YXLCxVdjV_2026_02_02_ISLAA0764.jpg?auto=format,compress&rect=0,101,3000,1800&w=500&h=300",{"x":156,"y":489,"zoom":172,"background":173},{"dimensions":8590,"alt":7,"copyright":7,"url":8591,"id":170,"edit":8592},{"width":266,"height":266},"https://images.prismic.io/islaa/aYTVj90YXLCxVdjV_2026_02_02_ISLAA0764.jpg?auto=format,compress&rect=500,0,2001,2001&w=500&h=500",{"x":266,"y":156,"zoom":172,"background":173},[8594],{"type":23,"text":8595,"spans":8596,"direction":26},"Installation view of Claudio Perna: Idea como Arte, Institute for Studies on Latin American Art (ISLAA), 2026. Photo: Marc Tatti",[8597],{"start":179,"end":180,"type":112},{"id":37,"type":38,"tags":8599,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":8600,"link_type":30,"key":497,"isBroken":47},[],{"name":45},"2026-02-14",[],[8604],{"link":8605,"link_label":7},{"link_type":503},[8607],{"variation":101,"version":102,"items":8608,"primary":8609,"id":521,"slice_type":522,"slice_label":7},[],{"text":8610},[8611,8618,8621],{"type":23,"text":8612,"spans":8613,"direction":26},"Saturday, February 14\n3 PM\nRegister\n\nThe ISLAA Second Saturday Exhibition Tours series invites our community into our galleries in Tribeca for a guided walk through our current presentations on the work of Carlos Cruz-Diez, Claudio Perna, Alejandro Otero, and Diego Barboza. Led by the ISLAA exhibitions team, these tours offer an inside view of how each exhibition was conceived, how works relate to one another, and why these artists are central to modern and contemporary Latin American art.",[8614],{"start":402,"end":8615,"type":630,"data":8616},35,{"link_type":73,"url":8617,"target":633},"https://luma.com/pizn5c73?mc_cid=d231071961&mc_eid=194901032b",{"type":23,"text":8619,"spans":8620,"direction":26},"Lasting approximately sixty to seventy-five minutes, this program is designed as a slow and engaging experience rather than a formal lecture. Visitors are encouraged to look closely, ask questions, and spend time with the artworks while hearing stories, learning about historical context, and engaging with artistic ideas directly in the galleries. Open to the public, these tours are an invitation to return, discover, and experience ISLAA exhibitions from within.",[],{"type":23,"text":8622,"spans":8623,"direction":26},"Tours will be in English and held at ISLAA, located at 142 Franklin Street in Tribeca. 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This presentation at the Institute for Studies on Latin American Art (ISLAA) features Rosenfeld's seminal work Una milla de cruces sobre el pavimento (1979), offering insight into her practice that challenged authoritarian structures and invited collective reflection. In Una milla de cruces sobre el pavimento Rosenfeld transformed traffic lines into crosses, subverting symbols of state control into acts of resistance. This gesture, replicated in various geopolitical contexts—from Santiago's streets to the vicinity of the White House—underscores her commitment to confronting power dynamics through minimal yet potent visual language. ",[],{"type":23,"text":8717,"spans":8718,"direction":26},"Rosenfeld's involvement with the Colectivo de Acciones de Arte (CADA) further exemplifies her dedication to collaborative and socially engaged art. CADA (Colectivo Acciones de Arte) was a Chilean conceptual art collective founded in 1979 that used public interventions and performance to challenge the dictatorship of Augusto Pinochet and explore the role of art in society. Through CADA, she participated in actions that blurred the lines between art and activism, emphasizing the role of the artist as a catalyst for societal change. ",[],{"type":23,"text":8720,"spans":8721,"direction":26},"The works on view, drawn from ISLAA's collection, not only document Rosenfeld's interventions, but also resonate with contemporary discourses on spatial politics and civic agency. By situating her practice within the urban fabric, Rosenfeld invites viewers to reconsider the everyday as a site of potential transformation. Her visible presence in the photographs underscores the personal stakes of her political critique, asserting the artist’s body as both subject and agent of resistance. ISLAA is honored to host this presentation, reaffirming its mission to support scholarship and public engagement with Latin American art. Rosenfeld's legacy, marked by her incisive critique of institutional power and her innovative use of public space, continues to inspire critical thought and artistic practice. ",[],{"type":23,"text":8723,"spans":8724,"direction":26},"—Blanca Serrano Ortiz de Solórzano",[],{"variation":101,"version":102,"items":8726,"primary":8727,"id":5634,"slice_type":147,"slice_label":7},[],{"text":8728},[8729],{"type":23,"text":8730,"spans":8731,"direction":26},"ARTWORK IMAGES",[8732],{"start":156,"end":1039,"type":158,"data":8733},{"label":160},{"variation":101,"version":102,"items":8735,"primary":8736,"id":5683,"slice_type":243,"slice_label":7},[],{},{"variation":101,"version":102,"items":8738,"primary":8813,"id":5773,"slice_type":243,"slice_label":7},[8739,8752,8764,8776,8789,8801],{"image":8740,"image_caption":8747},{"dimensions":8741,"alt":7,"copyright":7,"url":8744,"id":8745,"edit":8746},{"width":8742,"height":8743},807,610,"https://images.prismic.io/islaa/aSnnJnNYClf9nlwD_ROSE.001%3B1-1-.jpg?auto=format,compress","aSnnJnNYClf9nlwD",{"x":156,"y":156,"zoom":172,"background":173},[8748],{"type":23,"text":8749,"spans":8750,"direction":26},"Lotty Rosenfeld, Una milla de cruces sobre el pavimento, 1979 (detail)",[8751],{"start":281,"end":406,"type":112},{"image":8753,"image_caption":8760},{"dimensions":8754,"alt":7,"copyright":7,"url":8757,"id":8758,"edit":8759},{"width":8755,"height":8756},794,549,"https://images.prismic.io/islaa/aSnnKHNYClf9nlwF_ROSE.001%3B1-3-.jpg?auto=format,compress","aSnnKHNYClf9nlwF",{"x":156,"y":156,"zoom":172,"background":173},[8761],{"type":23,"text":8749,"spans":8762,"direction":26},[8763],{"start":281,"end":406,"type":112},{"image":8765,"image_caption":8772},{"dimensions":8766,"alt":7,"copyright":7,"url":8769,"id":8770,"edit":8771},{"width":8767,"height":8768},639,848,"https://images.prismic.io/islaa/aSnnJ3NYClf9nlwE_ROSE.001%3B1-2-.jpg?auto=format,compress","aSnnJ3NYClf9nlwE",{"x":156,"y":156,"zoom":172,"background":173},[8773],{"type":23,"text":8749,"spans":8774,"direction":26},[8775],{"start":281,"end":406,"type":112},{"image":8777,"image_caption":8784},{"dimensions":8778,"alt":7,"copyright":7,"url":8781,"id":8782,"edit":8783},{"width":8779,"height":8780},3276,1880,"https://images.prismic.io/islaa/aSnoCHNYClf9nlwY_CASABLANCAenmarcada.jpg?auto=format,compress","aSnoCHNYClf9nlwY",{"x":156,"y":156,"zoom":172,"background":173},[8785],{"type":23,"text":8786,"spans":8787,"direction":26},"Lotty Rosenfeld, Casablanca (Acción de Arte / Washington D.C, USA), 1982",[8788],{"start":281,"end":4850,"type":112},{"image":8790,"image_caption":8796},{"dimensions":8791,"alt":7,"copyright":7,"url":8793,"id":8794,"edit":8795},{"width":8792,"height":254},3418,"https://images.prismic.io/islaa/aSnoWHNYClf9nlwi_LAMONEDAenmarcadas.jpg?auto=format,compress","aSnoWHNYClf9nlwi",{"x":156,"y":156,"zoom":172,"background":173},[8797],{"type":23,"text":8798,"spans":8799,"direction":26},"Lotty Rosenfeld, La moneda (Acción de arte / Palacio presidencial / Santiago de Chile, Chile), 1985",[8800],{"start":2680,"end":1181,"type":112},{"image":8802,"image_caption":8808},{"dimensions":8803,"alt":7,"copyright":7,"url":8805,"id":8806,"edit":8807},{"width":7302,"height":8804},2484,"https://images.prismic.io/islaa/aSnnC3NYClf9nlv5_CARCELPUBLICAenmarcada.jpg?auto=format,compress","aSnnC3NYClf9nlv5",{"x":156,"y":156,"zoom":172,"background":173},[8809],{"type":23,"text":8810,"spans":8811,"direction":26},"Lotty Rosenfeld, Carcel Pública (Accion de Arte / Santiago de Chile, Chile), 1985 ",[8812],{"start":2680,"end":7232,"type":112},{},{"dimensions":8815,"alt":7,"copyright":7,"url":8816,"id":8817,"edit":8818},{"width":246,"height":247},"https://images.prismic.io/islaa/aLHNK2GNHVfTOczO_26casablanca223x18.jpg?auto=format,compress&rect=0,206,1860,977&w=2400&h=1260","aLHNK2GNHVfTOczO",{"x":156,"y":8819,"zoom":172,"background":173},206,{"dimensions":8821,"alt":7,"copyright":7,"url":8824,"id":8817,"edit":8825,"Square - 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These displays create opportunities for close engagement with artists and ideas that remain underrepresented in dominant art historical narratives, offering a platform to explore individual practices in greater depth.",[],{"type":23,"text":8900,"spans":8901,"direction":26},"Spotlight presentations are open during select hours and by appointment. To inquire about a tour or visit, please contact us at info@islaa.org.",[],{"type":23,"text":8903,"spans":8904,"direction":26},"* * * * *",[],{"type":23,"text":8906,"spans":8907,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present Los Sobrevivientes (1963) by French Argentine artist Germaine Derbecq (1899–1973) as part of the Spotlight series.",[8908],{"start":2516,"end":845,"type":112},{"type":23,"text":8910,"spans":8911,"direction":26},"Germaine Derbecq was an artist, critic, and curator whose lifelong commitment to aesthetic developments in modernism helped bring Argentine artists to European attention and vice versa. A formidable painter of geometric abstraction, she remained committed throughout her life to modern art’s conceptual and aesthetic advancement, across borders and milieux.",[],{"type":23,"text":8913,"spans":8914,"direction":26},"Born into a prestigious family in Paris, Derbecq gravitated toward painting from an early age. As a teenager, she studied under André Lhote and Juan Gris and befriended some of the artists of the period, including Le Corbusier, Jacques Lipchitz, and Suzanne Roger. By age eighteen, she had fallen in love with Pablo Curatella Manes, an Argentine sculptor who worked at his country’s embassy in Paris. They married in 1922, and that year Derbecq began a long streak of exhibiting her paintings annually at Paris’s Salon des Indépendants and later at the Salon des Surindépendants, until the onset of the Second World War. During the war, with artistic supplies scarce, Derbecq abandoned her previous work of post-impressionist figuration in favor of austere geometric drawings in charcoal, the genesis of the paintings she would make for the rest of her life.",[],{"type":23,"text":8916,"spans":8917,"direction":26},"In 1951, Derbecq and her family relocated to Buenos Aires, where she quickly gained prominence as a curator and art critic, surveying the local scene. Between 1960 and 1963, she served as the first artistic director of Galería Lirolay, which became a valuable disseminator of new artistic trends under her stewardship. Located on the same block as the influential Instituto Di Tella, Derbecq’s curatorial vision for the gallery led to groundbreaking early shows for a new generation of artists, including Alberto Greco, Marta Minujín, Nicolás García Uriburu, Luis Felipe Noé, Alfredo Hlito, and Rómulo Macció. From 1953 to 1972, she wrote a weekly chronicle in Le Quotidien, a French-language newspaper published in Buenos Aires, covering Latin American and Argentine art.",[],{"type":23,"text":8919,"spans":8920,"direction":26},"The works on display are among Derbecq’s most recognizable, including several paintings from her Pintura múltiple (Multiple Painting) series, begun in 1968. Derbecq conceived of these multiples as a radical reimagining of fine art and consumer culture. Galvanized by the mission of making art accessible to the general public, her aim was to produce work “worth a pair of shoes,” without compromising stylistic vigor or artistic integrity. The result resembles a grand bargain of avant-garde aesthetics and industrial design reminiscent of the Buen diseño para la industria project from the previous decade, and serves today as a reminder of accessibility in presentation. From their place in the Director’s Office, Derbecq’s works serve as a reminder that championing and stewarding great art is itself a creative act.",[8921],{"start":5133,"end":7959,"type":112},{"type":23,"text":8923,"spans":8924,"direction":26},"—Nolan Kelly",[],{"variation":101,"version":102,"items":8926,"primary":8927,"id":5683,"slice_type":243,"slice_label":7},[],{},{"variation":101,"version":102,"items":8929,"primary":8930,"id":5773,"slice_type":243,"slice_label":7},[],{},{"dimensions":8932,"alt":7,"copyright":7,"url":8933,"id":8934,"edit":8935},{"width":246,"height":247},"https://images.prismic.io/islaa/aYuEzt0YXLCxVqhs_07_GermaineDerbecqSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=1256%2C1334%2C3488%2C1831&w=2400&h=1260","aYuEzt0YXLCxVqhs",{"x":8936,"y":8937,"zoom":8938,"background":173},1256,1334,1.72,{"dimensions":8940,"alt":7,"copyright":7,"url":8941,"id":8934,"edit":8942,"Square - Large":8943,"Square - Small":8949,"Horizontal":8953},{"width":1935,"height":1948},"https://images.prismic.io/islaa/aYuEzt0YXLCxVqhs_07_GermaineDerbecqSpotlight_InstallationView.jpg?auto=format,compress",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":8944,"alt":7,"copyright":7,"url":8945,"id":8934,"edit":8946},{"width":260,"height":260},"https://images.prismic.io/islaa/aYuEzt0YXLCxVqhs_07_GermaineDerbecqSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=751%2C0%2C4499%2C4499&w=1000&h=1000",{"x":8947,"y":156,"zoom":8948,"background":173},751,1.0000000000000002,{"dimensions":8950,"alt":7,"copyright":7,"url":8951,"id":8934,"edit":8952},{"width":266,"height":266},"https://images.prismic.io/islaa/aYuEzt0YXLCxVqhs_07_GermaineDerbecqSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=751%2C0%2C4499%2C4499&w=500&h=500",{"x":8947,"y":156,"zoom":8948,"background":173},{"dimensions":8954,"alt":7,"copyright":7,"url":8955,"id":8934,"edit":8956},{"width":266,"height":272},"https://images.prismic.io/islaa/aYuEzt0YXLCxVqhs_07_GermaineDerbecqSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=1328%2C1216%2C3314%2C1988&w=500&h=300",{"x":8957,"y":8958,"zoom":8959,"background":173},1328,1216,1.81036376953125,[],[8962],{"type":23,"text":8963,"spans":8964,"direction":26},"Part of ISLAA's Spotlight series, this presentation features work by French Argentine artist, critic, and curator Germaine Derbecq.",[],[8966],{"page":8967},{"link_type":30},[8969],{"shopify_product_handle":7},{"id":8971,"uid":8972,"url":7,"type":8,"href":8973,"tags":8974,"first_publication_date":8975,"last_publication_date":8976,"slugs":8977,"linked_documents":8978,"lang":17,"alternate_languages":8979,"data":8980},"aYuDbhMAACMA7VAg","spotlight-alfredo-hlito","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aYuDbhMAACMA7VAg%22%29+%5D%5D",[11],"2026-02-10T19:18:43+0000","2026-02-10T19:22:19+0000",[8972],[],[],{"title":8981,"subtitle":8982,"series":8983,"regions":8986,"date":5512,"end_date":5513,"location":8989,"institutions":8992,"exhibition_materials":8995,"in_the_news":8998,"artists":9007,"curators":9008,"art_movements":9009,"slices":9012,"meta_description":7,"meta_image":9047,"meta_title":7,"preview_image":9055,"preview_image_caption":9078,"preview_description":9079,"related_content":9083,"related_products":9086},"Spotlight: Alfredo Hlito",[],[8984],{"series":8985},{"link_type":30},[8987],{"region":8988},{"link_type":30},{"id":37,"type":38,"tags":8990,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":8991,"link_type":30,"key":5517,"isBroken":47},[],{"name":45},[8993],{"institution":8994},{"link_type":30},[8996],{"link":8997,"link_label":7},{"link_type":503},[8999,9001,9003,9005],{"press_link":9000,"link_label":7},{"link_type":503},{"press_link":9002,"link_label":7},{"link_type":503},{"press_link":9004,"link_label":7},{"link_type":503},{"press_link":9006,"link_label":7},{"link_type":503},[],[],[9010],{"art_movement":9011},{"link_type":30},[9013,9041,9044],{"variation":101,"version":102,"items":9014,"primary":9015,"id":5625,"slice_type":147,"slice_label":7},[],{"text":9016},[9017,9019,9021,9023,9027,9030,9035,9039],{"type":23,"text":8897,"spans":9018,"direction":26},[],{"type":23,"text":8900,"spans":9020,"direction":26},[],{"type":23,"text":8903,"spans":9022,"direction":26},[],{"type":23,"text":9024,"spans":9025,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present Los Sobrevivientes (1963) by Argentine artist Alfredo Hlito (1923–1993) as part of the Spotlight series.",[9026],{"start":2516,"end":845,"type":112},{"type":23,"text":9028,"spans":9029,"direction":26},"Hlito was an influential artist and writer whose paintings put his theories of aesthetics and perception to practice. His early fascination with art led him to study at the Escuela Nacional de Bellas Artes, where he honed his skills as a painter. His early work paid homage to the hieroglyphic style of Uruguayan artist Joaquín Torres-García, though Hlito gradually pared down color and shape as he progressed toward a more abstract sense of composition. By the mid-1940s, he was an integral part of the Concrete Art movement, an international artistic movement that emphasized, through geometric abstraction, the reduction of art to its most essential functions. Hlito was a founding member of the Asociación Arte Concreto-Invención in 1945, and a year later coauthored the “Concrete Invention Manifesto,” laying the foundation for Concretism’s prominence in the global art scene.",[],{"type":23,"text":9031,"spans":9032,"direction":26},"During this period, Hlito’s work was characterized by the use of broad color fields and sharp geometric figures, which became emblematic of the movement. In 1948, he and his Concretist peers participated in Paris’s Salon des Réalités Nouvelles and the landmark New Realities exhibition at Galería van Riel in Buenos Aires. Continually situating his artistic practice within a theoretical framework, in 1951 he cofounded the Nueva Visión magazine with Tomás Maldonado. In 1954 he received the Acquisition Award from the II São Paulo Biennial, and the following year he participated in the XXVIII Venice Biennale.",[9033],{"start":412,"end":9034,"type":112},436,{"type":23,"text":9036,"spans":9037,"direction":26},"Hlito’s groundbreaking work in the 1950s laid the groundwork for Op art, a style that, when it emerged in the 1960s, pushed the boundaries of optical experimentation and the transformative potential of geometric abstraction, taking optical illusion and perceptual mechanics as its catalyst. The eight works on display, all part of Hlito’s series Espectros (Specters), were created between 1959 and 1961, a fertile period that marked his transition from Concretism to exploring the interplay of color and form in a more nuanced manner. Taking on new considerations of perspective and distance, Op art brought with it a recognition of the subjective position and sensibility from which a work was viewed, and the foundations at which brushstrokes begin to constitute a recognizable form. For the works on view here, this constituted a stripping down of images to their most basic building blocks, through a brushy pointillism that feels both mannered and raw.",[9038],{"start":7965,"end":8520,"type":112},{"type":23,"text":8923,"spans":9040,"direction":26},[],{"variation":101,"version":102,"items":9042,"primary":9043,"id":5683,"slice_type":243,"slice_label":7},[],{},{"variation":101,"version":102,"items":9045,"primary":9046,"id":5773,"slice_type":243,"slice_label":7},[],{},{"dimensions":9048,"alt":7,"copyright":7,"url":9049,"id":9050,"edit":9051},{"width":246,"height":247},"https://images.prismic.io/islaa/aYuFN90YXLCxVqiC_12_AlfredoHlitoSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=710%2C1048%2C4580%2C2405&w=2400&h=1260","aYuFN90YXLCxVqiC",{"x":9052,"y":9053,"zoom":9054,"background":173},710,1048,1.31,{"dimensions":9056,"alt":7,"copyright":7,"url":9057,"id":9050,"edit":9058,"Horizontal":9060,"Square - Small":9067,"Square - Large":9074},{"width":1935,"height":1959},"https://images.prismic.io/islaa/aYuFN90YXLCxVqiC_12_AlfredoHlitoSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=345%2C259%2C5309%2C3982&w=6000&h=4500",{"x":5799,"y":9059,"zoom":4493,"background":173},259,{"dimensions":9061,"alt":7,"copyright":7,"url":9062,"id":9050,"edit":9063},{"width":266,"height":272},"https://images.prismic.io/islaa/aYuFN90YXLCxVqiC_12_AlfredoHlitoSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=638%2C833%2C4724%2C2834&w=500&h=300",{"x":9064,"y":9065,"zoom":9066,"background":173},638,833,1.27,{"dimensions":9068,"alt":7,"copyright":7,"url":9069,"id":9050,"edit":9070},{"width":266,"height":266},"https://images.prismic.io/islaa/aYuFN90YXLCxVqiC_12_AlfredoHlitoSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=1381%2C631%2C3237%2C3237&w=500&h=500",{"x":9071,"y":9072,"zoom":9073,"background":173},1381,631,1.39,{"dimensions":9075,"alt":7,"copyright":7,"url":9076,"id":9050,"edit":9077},{"width":260,"height":260},"https://images.prismic.io/islaa/aYuFN90YXLCxVqiC_12_AlfredoHlitoSpotlight_InstallationView.jpg?auto=format%2Ccompress&rect=1381%2C631%2C3237%2C3237&w=1000&h=1000",{"x":9071,"y":9072,"zoom":9073,"background":173},[],[9080],{"type":23,"text":9081,"spans":9082,"direction":26},"Part of ISLAA's Spotlight series, this presentation features work by Argentine artist Alfredo Hlito.",[],[9084],{"page":9085},{"link_type":30},[9087],{"shopify_product_handle":7},{"id":9089,"uid":9090,"url":7,"type":8,"href":9091,"tags":9092,"first_publication_date":9093,"last_publication_date":9094,"slugs":9095,"linked_documents":9096,"lang":17,"alternate_languages":9097,"data":9098},"aYt_sRMAACQA7UrK","spotlight-lea-lublin","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aYt_sRMAACQA7UrK%22%29+%5D%5D",[11],"2026-02-10T19:11:08+0000","2026-02-11T22:32:16+0000",[9090],[],[],{"title":9099,"subtitle":9100,"series":9101,"regions":9104,"date":8680,"end_date":3126,"location":9107,"institutions":9110,"exhibition_materials":9113,"in_the_news":9116,"artists":9125,"curators":9126,"art_movements":9127,"slices":9130,"meta_description":7,"meta_image":9185,"meta_title":7,"preview_image":9191,"preview_image_caption":9211,"preview_description":9212,"related_content":9216,"related_products":9219},"Spotlight: Lea Lublin",[],[9102],{"series":9103},{"link_type":30},[9105],{"region":9106},{"link_type":30},{"id":37,"type":38,"tags":9108,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":9109,"link_type":30,"key":5517,"isBroken":47},[],{"name":45},[9111],{"institution":9112},{"link_type":30},[9114],{"link":9115,"link_label":7},{"link_type":503},[9117,9119,9121,9123],{"press_link":9118,"link_label":7},{"link_type":503},{"press_link":9120,"link_label":7},{"link_type":503},{"press_link":9122,"link_label":7},{"link_type":503},{"press_link":9124,"link_label":7},{"link_type":503},[],[],[9128],{"art_movement":9129},{"link_type":30},[9131,9179,9182],{"variation":101,"version":102,"items":9132,"primary":9133,"id":5625,"slice_type":147,"slice_label":7},[],{"text":9134},[9135,9137,9139,9141,9145,9153,9156,9165,9176],{"type":23,"text":8897,"spans":9136,"direction":26},[],{"type":23,"text":8900,"spans":9138,"direction":26},[],{"type":23,"text":8903,"spans":9140,"direction":26},[],{"type":23,"text":9142,"spans":9143,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present Los Sobrevivientes (1963) by French Argentine artist Lea Lublin (1929–1999) as part of the Spotlight series.",[9144],{"start":2516,"end":845,"type":112},{"type":23,"text":9146,"spans":9147,"direction":26},"In 1963, in the catalogue of Lublin’s solo exhibition at the Riobbo Gallery in Buenos Aires, Argentine critic Aldo Pellegrini wrote: “Lea Lublin presents us with a nightmarish world that reflects the secret panic in which modern man is submerged. A world threatened by disintegration and populated by monsters, a hidden world that the artist captures, becoming a spokesperson for man’s anguish.” This ominous universe—emerging at one of the most intense moments of the Cold War and the threat of mutually assured destruction—saturated the Beasts and Explosions series. Los Sobrevivientes was part of this series. ",[9148,9151],{"start":9149,"end":9150,"type":112},539,560,{"start":9152,"end":418,"type":112},569,{"type":23,"text":9154,"spans":9155,"direction":26},"After decades out of public view, the painting is now exhibited for the first time at ISLAA. With an imposing scale, the oil painting creates a striking relief through a composition structured around deep diagonals and fields of color including white, yellow, and red. The composition offers no rest for the eye, generating a dramatic effect that resembles the snapshot of an atomic explosion. Only a few contours can be made out—perhaps a human shadow, maybe a child—and beast-like figures, images similar to those the artist painted in other works from this same series. Does the series portray different representations of the same instant? Or are they various moments of an explosion unfolding over time?",[],{"type":23,"text":9157,"spans":9158,"direction":26},"Lublin’s artistic training took place between Buenos Aires—where she attended the National Academy of Fine Arts—and Paris, where she studied from 1951 to 1956 at the Académie Ranson. After having her first solo exhibition in 1958, she won the Young Painting Prize in Paris in 1955. However, the Beasts and Explosions series anticipated her departure from painting, a decision she would make just a year later, in 1964, following her exhibition L'Incitation à la massacre in Paris. With these final paintings, she believed she had reached “the limits of the possibility of communicating any political, social, ecological or other message through painting.” As Lublin would later explain, the works conveyed fear of destruction and human stupidity—and yet, they were still purchased and hung in the homes of bourgeois families.",[9159,9162],{"start":9160,"end":9161,"type":112},295,316,{"start":9163,"end":9164,"type":112},444,471,{"type":23,"text":9166,"spans":9167,"direction":26},"From 1965 onward, after abandoning painting, the artist began what she called her “parcours conceptuel,” or “conceptual journey,” with works such as Voir Clair (1965), Mon Fils (1968), Fluvio Subtunal (1969), and Cultura: Dentro y Fuera del Museo (1971). After the tormented figures and images of a world in crisis and on the brink of ultimate destruction, Lea Lublin turned toward an artistic path far from painting, marked by strong participatory and playful dimensions.",[9168,9170,9172,9174],{"start":9169,"end":4350,"type":112},149,{"start":846,"end":9171,"type":112},176,{"start":9173,"end":4705,"type":112},185,{"start":527,"end":9175,"type":112},246,{"type":23,"text":9177,"spans":9178,"direction":26},"—Agustín Diez Fischer",[],{"variation":101,"version":102,"items":9180,"primary":9181,"id":5683,"slice_type":243,"slice_label":7},[],{},{"variation":101,"version":102,"items":9183,"primary":9184,"id":5773,"slice_type":243,"slice_label":7},[],{},{"dimensions":9186,"alt":7,"copyright":7,"url":9187,"id":9188,"edit":9189},{"width":246,"height":247},"https://images.prismic.io/islaa/aYuAet0YXLCxVqfN_LUBL.0032_Main.jpg?auto=format%2Ccompress&rect=0%2C1409%2C3754%2C1971&w=2400&h=1260","aYuAet0YXLCxVqfN",{"x":156,"y":9190,"zoom":172,"background":173},1409,{"dimensions":9192,"alt":7,"copyright":7,"url":9195,"id":9188,"edit":9196,"Horizontal":9197,"Square - 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The exhibition is co-curated by Zanna Gilbert, Senior Research Specialist, Getty Research Institute, and Elena Shtromberg, Professor of Art History, University of Utah. Curatorial coordination at UCR ARTS by Kathryn Poindexter-Akers, Head of Exhibitions, and Joanna Szupinska, Senior Curator. ",[9290,9292,9295],{"start":1878,"end":9291,"type":112},60,{"start":1878,"end":9291,"type":630,"data":9293},{"link_type":73,"url":9294,"target":3876},"https://islaa.org/exhibitions/exhibition-2021-jan-poema-colectivo-revolucion/",{"start":110,"end":3865,"type":112},{"type":23,"text":138,"spans":9297,"direction":26},[],{"type":23,"text":9299,"spans":9300,"direction":26},"Transgresoras: Mail Art and Messages, 1960s–2020s surveys artworks made and exchanged by Latinx and Latin American women artists from the 1960s to the present. As a mode of artistic production that relied on the postal service for the circulation and exchange of artworks, Mail Art allowed artists in repressive societies to evade strict censorship measures, providing platforms for circulating their work and for political protest. Latinx and Latin American women artists have used the postal system to transgress a varied set of restrictive systems, ranging from gender expectations to authoritarian regimes.",[9301],{"start":156,"end":6697,"type":112},{"type":23,"text":9303,"spans":9304,"direction":26},"Transgresoras presents historic works—including visual poetry, drawings, prints, performance, video, and photography—in dialogue with the work of a younger generation of artists who employ facets of correspondence in their work. This intergenerational approach brings to the fore overlooked historical precedents to restore a lineage of artistic production that has been little known in ensuing decades, enhancing our perspective on central issues of today’s media and political landscape.",[9305],{"start":156,"end":1039,"type":112},{"type":23,"text":9307,"spans":9308,"direction":26},"The exhibition is organized around constellations addressing broad thematic groupings such as state control of communications media, censorship, and authoritarian violence; gender constructions and feminist ideals; migration, interconnectedness, and community at a distance; state bureaucracies and the legacies of colonialism; and decolonial approaches to ecology.",[],{"type":23,"text":9310,"spans":9311,"direction":26},"Artist list",[9312],{"start":156,"end":9313,"type":407},11,{"type":23,"text":9315,"spans":9316,"direction":26},"Valentina Alvarado Matos, Venezuela\nCarmen Argote, U.S.\nAnna Banana, Canada\nMarilyn Boror Bor, Guatemala\nCADA–Colectivo Acciones de Arte (Raúl Zurita, Fernando Balcells, Diamela Eltit, Lotty Rosenfeld, and Juan Castillo), Chile\nJohanna Calle, Colombia\nJosely Carvalho, Brazil/U.S., with Sabra Moore, U.S.\nCarolina Caycedo, Colombia/U.S.\nVera Chaves Barcellos, Brazil\nBeatriz Cortez, El Salvador/U.S.\nMarilá Dardot, Brazil, with Fabio Morais, Brazil\nLenora de Barros, Brazil\nGiana De Dier, Panama\nSandra de la Loza, U.S., with Eduardo Molinari, Argentina\nClaudia del Rio, Argentina\nMirtha Dermisache, Argentina\nVirginia Errázuriz, Chile\nMagdalena Fernández, Venezuela\nRegina José Galindo, Guatemala\nAnna Bella Geiger, Brazil\nGabriela Golder, Argentina\nAstrid González, Colombia\nGraciela Gutiérrez Marx, Argentina\nJonathan Harker, Panama\nVoluspa Jarpa, Chile\nSuzanne Lacy, U.S.\nKarin Lambrecht, Brazil/U.K., with Ruth Wolf-Rehfeldt, East Germany\nMagali Lara, Mexico\nGilda Mantilla, Peru\nMónica Mayer, Mexico\nMarta Minujín, Argentina\nNADA Art (Irma Pérez and Victor Pérez), U.S.\nLiliana Porter, Argentina/U.S. (with Luis Camnitzer, Uruguay/U.S., and José Guillermo\u2028Castillo, Venezuela/U.S., as New York Graphic Workshop)\nAnésia Pacheco e Chaves, Brazil\nYani Pecanins, Mexico\nAmalia Pica, Argentina\nPolvo de la Gallina Negra (Mónica Mayer and Maris Bustamante), Mexico\nGala Porras-Kim, Colombia/U.S.\nLiliana Porter, Argentina\nSandy Rodriguez, U.S.\nMartha Rosler, U.S.\nS.C. Mero, U.S.\nNeide Sá, Brazil\nGraciela Sacco, Argentina\nVera Salamanca, Brazil\nTeddy Sandoval, U.S.\nMira Schendel, Brazil\nRegina Silveira, Brazil\nThereza Simões, Brazil\nClarissa Tossin, Brazil/U.S.\nUnknown artist, feminist workshop, Chile\nPatssi Valdez/ASCO, U.S.\nArleene Correa Valencia, Mexico/U.S.\nRegina Vater, Brazil\nCecilia Vicuña, Chile/U.S.\nAraceli Zúñiga, Mexico, with César Espinosa, Mexico",[],{"type":23,"text":9318,"spans":9319,"direction":26},"The exhibition was made possible with lead support from the Terra Foundation for American Art. Generous support was provided by the Getty Research Institute Council, Art Bridges, and Betty Duker. University of Utah provided additional research funds. Programs at UCR ARTS are supported by the College of Humanities, Arts, and Social Sciences (CHASS), and by the City of Riverside.",[],{"type":23,"text":138,"spans":9321,"direction":26},[],{"type":23,"text":9253,"spans":9323,"direction":26},[9324],{"start":156,"end":9256,"type":112},"text$f423906c-54aa-4fad-b167-13fbdb2b393f",{"dimensions":9327,"alt":7,"copyright":7,"url":9328,"id":9241,"edit":9329},{"width":246,"height":247},"https://images.prismic.io/islaa/aMgMomGNHVfTPPW7_fe415f27-8687-4e83-8054-3f6283c23171-570.webp?auto=format,compress&rect=0,78,570,299&w=2400&h=1260",{"x":156,"y":2516,"zoom":172,"background":173},{"dimensions":9331,"alt":7,"copyright":7,"url":9240,"id":9241,"edit":9332,"Square - Large":9333,"Square - Small":9337,"Horizontal":9340},{"width":6970,"height":9239},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":9334,"alt":7,"copyright":7,"url":9335,"id":9241,"edit":9336},{"width":260,"height":260},"https://images.prismic.io/islaa/aMgMomGNHVfTPPW7_fe415f27-8687-4e83-8054-3f6283c23171-570.webp?auto=format,compress&rect=58,0,455,455&w=1000&h=1000",{"x":7679,"y":156,"zoom":172,"background":173},{"dimensions":9338,"alt":7,"copyright":7,"url":9245,"id":9241,"edit":9339},{"width":266,"height":266},{"x":7679,"y":156,"zoom":172,"background":173},{"dimensions":9341,"alt":7,"copyright":7,"url":9249,"id":9241,"edit":9342},{"width":266,"height":272},{"x":156,"y":6419,"zoom":172,"background":173},[9344],{"type":23,"text":9253,"spans":9345,"direction":26},[9346],{"start":156,"end":9256,"type":112},[9348],{"page":9349},{"link_type":30},[9351],{"shopify_product_handle":7},{"id":9353,"uid":9354,"url":7,"type":8,"href":9355,"tags":9356,"first_publication_date":9357,"last_publication_date":9358,"slugs":9359,"linked_documents":9361,"lang":17,"alternate_languages":9362,"data":9363},"aW_PiRAAACAATXk_","spotlight-erick-calderon","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aW_PiRAAACAATXk_%22%29+%5D%5D",[11],"2026-01-20T18:59:36+0000","2026-02-10T22:44:43+0000",[9360],"spotlight-erick-calderon-snowfro",[],[],{"title":9364,"subtitle":9365,"series":9366,"regions":9369,"date":34,"end_date":35,"location":9372,"institutions":9375,"exhibition_materials":9378,"in_the_news":9391,"artists":9392,"curators":9395,"art_movements":9396,"slices":9397,"meta_description":7,"meta_image":9439,"meta_title":9364,"preview_image":9444,"preview_image_caption":9463,"preview_description":9468,"related_content":9472,"related_products":9475},"Spotlight: Erick Calderon (Snowfro)",[],[9367],{"series":9368},{"link_type":30},[9370],{"region":9371},{"link_type":30},{"id":37,"type":38,"tags":9373,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":9374,"link_type":30,"key":46,"isBroken":47},[],{"name":45},[9376],{"institution":9377},{"link_type":30},[9379,9387,9389],{"link":9380,"link_label":9386},{"link_type":54,"key":9381,"kind":56,"id":9382,"url":9383,"name":9384,"size":9385},"5c24c76e-093f-4c4d-805d-4026ab495b3e","aYuo690YXLCxVqr0","https://islaa.cdn.prismic.io/islaa/aYuo690YXLCxVqr0_ISLAA_ErickCalderon-Snowfro-Spotlight_Brochure.pdf","ISLAA_Erick Calderon (Snowfro) Spotlight_Brochure.pdf","2946461","Spotlight Brochure",{"link":9388,"link_label":7},{"link_type":503},{"link":9390,"link_label":7},{"link_type":503},[],[9393],{"artist":9394},{"link_type":30},[],[],[9398],{"variation":101,"version":102,"items":9399,"primary":9400,"id":146,"slice_type":147,"slice_label":7},[],{"text":9401},[9402,9405,9408,9410,9414,9417,9420,9423,9426,9430,9433,9436],{"type":23,"text":9403,"spans":9404,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present a selection of works by Erick Calderon, also known as Snowfro, at ISLAA, as part of the Spotlight series. On view alongside our season exploring histories of Venezuelan art, this presentation will feature works that respond to the in-depth color research of Carlos Cruz-Diez through a contemporary lens.",[],{"type":23,"text":9406,"spans":9407,"direction":26},"ISLAA Spotlights is a series of focused in-person and online presentations that highlight works by individual artists. These displays create opportunities for close engagement with artists and ideas that remain underrepresented in dominant art historical narratives, offering a platform to explore their practices in greater depth. ",[],{"type":23,"text":8903,"spans":9409,"direction":26},[],{"type":23,"text":9411,"spans":9412,"direction":26},"Snowfro: Color as Autonomous System",[9413],{"start":156,"end":8615,"type":407},{"type":23,"text":9415,"spans":9416,"direction":26},"Erick Calderon, known as Snowfro, works from the sustained premise that color operates as an autonomous system, unfolding through time, perception, and participation. In conversations with Snowfro, he has described how this understanding crystallized in 2014 through direct encounters with the work of Carlos Cruz-Diez, experiencing his exhibitions firsthand. What mattered at that moment was conceptual alignment: Cruz- Diez’s articulation of color as an independent phenomenon that exists through activation and experience provided Snowfro with a precise intellectual framework that continues to inform his practice.",[],{"type":23,"text":9418,"spans":9419,"direction":26},"This framework, however, was grounded in earlier experience. Calderon grew up in a Texan family ceramics business, where production, application, and experimentation with color were part of everyday labor. In ceramics, color is mixed, tested, applied, fired, and transformed. Pigments behave differently depending on mineral composition, glaze thickness, temperature, and time spent in the kiln. Color emerges through process, repetition, and material contingency. This early exposure shaped Calderon’s understanding of color as something that develops over time, responds to conditions, and resists absolute control. Color was experienced as outcome and as behavior.",[],{"type":23,"text":9421,"spans":9422,"direction":26},"Cruz-Diez relocated color from representational hierarchy to lived perception, insisting that chromatic experience emerges through movement, optical interference, and temporal instability. In this framework, perception activates color events, and the artwork takes shape over time. Snowfro reconstructs this position within computational conditions, where code functions as medium through and color behavior is organized and sustained. Emphasis shifts toward system and duration, allowing color to appear as events.",[],{"type":23,"text":9424,"spans":9425,"direction":26},"Snowfro’s generative works are conceived as systems. Color is produced through execution, as the algorithm defines parameters within which chromatic behavior unfolds. Authorship resides in structure, while final appearance remains contingent on interaction and duration. Participation activates work and shapes how color emerges across time. This logic corresponds directly to chromatic modules developed by Cruz-Diez, where repetition and precision generated perceptual variation without compositional hierarchy. The medium changes while principle remains consistent.",[],{"type":23,"text":9427,"spans":9428,"direction":26},"Chromie Squiggle exemplifies this approach with methodological clarity. Formal reduction is deliberate and analytical: The line functions as carrier, the field as site, and what unfolds is chromatic behavior over time. Color shifts in response to interaction and duration, producing continuous variation without resolving into a final state. Structural discipline isolates color as primary agent within perceptual experience and resists closure.",[9429],{"start":156,"end":2680,"type":112},{"type":23,"text":9431,"spans":9432,"direction":26},"Calderon’s ceramic background remains central to this methodology. Ceramic production teaches that color develops through chemistry, temperature, and time, emerging through process rather than command. Glaze behavior cannot be fully controlled, only structured through accumulated knowledge and testing. This understanding transfers directly into generative practice, where code functions operationally like a kiln, establishing conditions through which color reveals itself. Continuity here is procedural, grounded in the shared logic of material process and emergence.",[],{"type":23,"text":9434,"spans":9435,"direction":26},"By anchoring his work on-chain, Snowfro extends this framework into the domain of permanence, integrating conservation directly into the artistic concept. Code exists as artwork, and color persists as executable instruction rather than fixed image, capable of reappearing over time without reliance on proprietary platforms. Permanence becomes embedded from the outset, supporting long term stewardship of generative color systems.",[],{"type":23,"text":9437,"spans":9438,"direction":26},"—Ariel M. 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Algorithmic edition of 10,000. Courtesy the artist",[9467],{"start":2547,"end":952,"type":112},[9469],{"type":23,"text":9470,"spans":9471,"direction":26},"Part of ISLAA's Spotlight series, this presentation features digital works by the artist Erick Calderon.",[],[9473],{"page":9474},{"link_type":30},[9476],{"shopify_product_handle":7},{"id":9478,"uid":9479,"url":7,"type":8,"href":9480,"tags":9481,"first_publication_date":9482,"last_publication_date":9483,"slugs":9484,"linked_documents":9485,"lang":17,"alternate_languages":9486,"data":9487},"aLr4jxAAACEAOJ9J","spotlight-aida-carballo","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aLr4jxAAACEAOJ9J%22%29+%5D%5D",[11],"2025-09-05T15:48:49+0000","2026-02-10T22:57:34+0000",[9479],[],[],{"title":9488,"subtitle":9489,"series":9490,"regions":9493,"date":3125,"end_date":3126,"location":9496,"institutions":9499,"exhibition_materials":9502,"in_the_news":9505,"artists":9514,"curators":9515,"art_movements":9516,"slices":9519,"meta_description":7,"meta_image":9670,"meta_title":7,"preview_image":9677,"preview_image_caption":9703,"preview_description":9704,"related_content":9708,"related_products":9711},"Spotlight: Aída Carballo",[],[9491],{"series":9492},{"link_type":30},[9494],{"region":9495},{"link_type":30},{"id":37,"type":38,"tags":9497,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":9498,"link_type":30,"key":5517,"isBroken":47},[],{"name":45},[9500],{"institution":9501},{"link_type":30},[9503],{"link":9504,"link_label":7},{"link_type":503},[9506,9508,9510,9512],{"press_link":9507,"link_label":7},{"link_type":503},{"press_link":9509,"link_label":7},{"link_type":503},{"press_link":9511,"link_label":7},{"link_type":503},{"press_link":9513,"link_label":7},{"link_type":503},[],[],[9517],{"art_movement":9518},{"link_type":30},[9520,9580,9588,9667],{"variation":101,"version":102,"items":9521,"primary":9522,"id":5625,"slice_type":147,"slice_label":7},[],{"text":9523},[9524,9526,9529,9532,9534,9536,9539,9542,9545,9548,9568,9571,9574,9577],{"type":23,"text":8897,"spans":9525,"direction":26},[],{"type":23,"text":9527,"spans":9528,"direction":26},"This season, we are pleased to present a Spotlight on Aída Carballo (1916–1985, Argentina), a pioneering artist known for her incisive portrayals of urban life, fantastical imagery, and psychologically charged scenes. Working across drawing, printmaking, and painting, Carballo developed a deeply expressive practice shaped by autobiographical memory, social critique, and political engagement. Her work navigates themes such as femininity, madness, and marginality through an ironic yet tender approach to her subjects. Bringing together a selection of works spanning decades and mediums, this presentation underscores the range and complexity of her artistic practice— one that remains largely absent from major institutional collections outside Argentina.",[],{"type":23,"text":9530,"spans":9531,"direction":26},"The Spotlight series highlights ISLAA’s mission to support the diverse artistic voices of Latin America and its commitment to supporting the study and visibility of art from throughout the region. This season’s presentations— featuring work by Aída Carballo, Marcia Schvartz, Alicia Herrero, Ana López, and Cristina Schiavi—reflect on artistic responses to the shifting political, social, and cultural landscapes of twentieth-century Argentina, offering insight into how artists navigated themes of resistance, memory, and marginalization across generations. ",[],{"type":23,"text":8900,"spans":9533,"direction":26},[],{"type":23,"text":138,"spans":9535,"direction":26},[],{"type":23,"text":9537,"spans":9538,"direction":26},"Aída Carballo (Buenos Aires, 1916–1985) was a pioneering Argentine printmaker, ceramicist, illustrator, and educator whose personal and politically engaged practice significantly shaped the development of twentieth-century graphic arts in Argentina. Known for her expressive use of etching, aquatint, and lithography, Carballo created a singular body of work centered on social critique, autobiographical memory, and psychological introspection.",[],{"type":23,"text":9540,"spans":9541,"direction":26},"Carballo studied at the Escuela de Artes Decorativas de la Nación under Pío Collivadino and later at the Escuela Superior de Bellas Artes Ernesto de la Cárcova and the Escuela Nacional de Cerámica. In the late 1950s, she was awarded a scholarship to study printmaking in France, Spain, and Portugal, experiences that expanded her technical knowledge and deepened her admiration for artists such as Rembrandt and Goya.",[],{"type":23,"text":9543,"spans":9544,"direction":26},"Carballo gained early recognition with her work La calle, el corazón y la lluvia (1948), which earned the First Prize in Printmaking at the 33rd Annual Salon of the Society of Watercolorists and Printmakers. In this etching, a young girl— neither child nor adult—stands in the rain, holding a hyper-realistic heart. Surrounding her is a neighborhood suspended between tradition and change, where chickens, iron railings, and stained-glass windows coexist with the looming presence of a modern apartment building. While this distinction helped establish Carballo’s reputation within Argentina’s graphic arts scene, marking one of her earliest instances of public recognition, the work also foreshadows Carballo’s preoccupation with psychological interiority and the political tenor that pervades most of her practice.",[],{"type":23,"text":9546,"spans":9547,"direction":26},"In 1951, Carballo held her first solo exhibition at Galería Müller in Buenos Aires, presenting a selection of ceramics, drawings, and prints. This milestone offered further exposure for the breadth of her artistic production at a time when she was consolidating her voice across multiple media. A renewed momentum in her career arrived in the 1960s, when both La ciudadana (1960) and Autorretrato con narices (1964) received awards from the Buenos Aires Salón Municipal and the Salón Nacional’s Premio de Honor, respectively. These works reflect Carballo’s engagement with the social and political issues of her time, often placing her own image—whether in solitude or surrounded by a crowd of men’s noses—as a demand for public participation and resistance, and as a protest against systemic oppression. In works from this period, such as Detenéos, entráis en la morada del Caballero (1963), Carballo portrays male figures through quixotic satire, combining parodic, theatrical poses with ironic allusions to rationalism. By overlaying the composition with phrases like “caballero es el que os acomete” and “nosotros somos cuerdos,” she offers an incisive critique of human absurdity and masculinity.",[],{"type":23,"text":9549,"spans":9550,"direction":26},"Carballo’s practice was periodically interrupted by recurring hospitalizations, which gave rise to series such as Hospicio (1956) and De los locos (1963). A haunting series of lithographs depicting patients in psychiatric institutions, De los locos marked a decisive shift from urban landscape to psychological and satirical portraiture drawn from her own experiences of internment. It was followed by De los amantes (1964), Los levitantes (1967), Los colectivos (1975), and Las muñecas (1975), each exploring themes of madness, desire, everyday life, and femininity with a subversive yet tender gaze.",[9551,9552,9555,9557,9560,9562,9565],{"start":3597,"end":1456,"type":112},{"start":9553,"end":9554,"type":112},134,146,{"start":5996,"end":9556,"type":112},249,{"start":9558,"end":9559,"type":112},402,416,{"start":413,"end":9561,"type":112},439,{"start":9563,"end":9564,"type":112},448,463,{"start":9566,"end":9567,"type":112},475,486,{"type":23,"text":9569,"spans":9570,"direction":26},"Carballo’s activism was as central to her legacy as her artistic practice. In 1981, she cofounded the Movimiento por la Reconstrucción y el Desarrollo de la Cultura Nacional, together with fellow artists and intellectuals such as Ernesto Sabato, Ana Pampliega de Quiroga, Enrique Stein, Ricardo Monti, and Leda Valladares. In addition to resisting Argentina’s last military dictatorship and championing cultural memory and human rights, the group was committed to protecting national heritage from cultural commodification and highlighting marginalized Indigenous and folkloric traditions. That same year, Carballo created Estamos en la cosa (1981), a work that signals a moment of graphic refinement in her practice. Though not overtly political, it reflects the precision and confidence of an artist deeply engaged with the urgencies of her time. Her critical voice also reached broader audiences through her illustrations for La Nacion’s literary supplement from 1974 to 1984, and in 1984, she designed the poster for the Semana de la Cultura de la Resistencia.",[],{"type":23,"text":9572,"spans":9573,"direction":26},"A committed educator, Carballo taught drawing and printmaking for decades at the Escuela Nacional de Bellas Artes Manuel Belgrano and the Escuela Prilidiano Pueyrredón, as well as in her private studio, where she mentored a generation of Argentine artists, including Marcia Schvartz, Matilde Marín, María Inés Tapia Vera, Mabel Rubli, Eduardo Iglesias Brickles, and Cristina Santander. Her practice remains a touchstone for feminist art in Argentina and a vital expression of artistic resistance, humor, and resilience in the face of authoritarianism, mental illness, and social exclusion.",[],{"type":23,"text":9575,"spans":9576,"direction":26},"Carballo’s work has been exhibited internationally, including at the Art Museum of the Americas of the Organization of American States, Washington, DC (1976), and is held in the collections of institutions such as the Museo Nacional de Bellas Artes, Buenos Aires; the Museum of Modern Art, New York; and the Museo Nacional Centro de Arte Reina Sofía, Madrid.",[],{"type":23,"text":9578,"spans":9579,"direction":26},"—Clara Prat-Gay",[],{"variation":101,"version":102,"items":9581,"primary":9582,"id":5634,"slice_type":147,"slice_label":7},[],{"text":9583},[9584],{"type":23,"text":8730,"spans":9585,"direction":26},[9586],{"start":156,"end":1039,"type":158,"data":9587},{"label":160},{"variation":101,"version":102,"items":9589,"primary":9666,"id":5683,"slice_type":243,"slice_label":7},[9590,9601,9614,9627,9640,9653],{"image":9591,"image_caption":9596},{"dimensions":9592,"alt":7,"copyright":7,"url":9593,"id":9594,"edit":9595},{"width":4712,"height":379},"https://images.prismic.io/islaa/aSnwaXNYClf9nly9_CARB.0002_Main.jpg?auto=format,compress","aSnwaXNYClf9nly9",{"x":156,"y":156,"zoom":172,"background":173},[9597],{"type":23,"text":9598,"spans":9599,"direction":26},"Aída Carballo, La Santa, 1956",[9600],{"start":281,"end":2546,"type":112},{"image":9602,"image_caption":9609},{"dimensions":9603,"alt":7,"copyright":7,"url":9606,"id":9607,"edit":9608},{"width":9604,"height":9605},624,978,"https://images.prismic.io/islaa/aSnwa3NYClf9nly__CARB.0004_Main.jpg?auto=format,compress","aSnwa3NYClf9nly_",{"x":156,"y":156,"zoom":172,"background":173},[9610],{"type":23,"text":9611,"spans":9612,"direction":26},"Aída Carballo, Untitled, 1952",[9613],{"start":281,"end":2546,"type":112},{"image":9615,"image_caption":9622},{"dimensions":9616,"alt":7,"copyright":7,"url":9619,"id":9620,"edit":9621},{"width":9617,"height":9618},226,353,"https://images.prismic.io/islaa/aSnwanNYClf9nly-_CARB.0003_Main.jpg?auto=format,compress","aSnwanNYClf9nly-",{"x":156,"y":156,"zoom":172,"background":173},[9623],{"type":23,"text":9624,"spans":9625,"direction":26},"Aída Carballo, Pasajera con aro, 1968",[9626],{"start":281,"end":2711,"type":112},{"image":9628,"image_caption":9635},{"dimensions":9629,"alt":7,"copyright":7,"url":9632,"id":9633,"edit":9634},{"width":9630,"height":9631},2017,3933,"https://images.prismic.io/islaa/aSnwkXNYClf9nlzC_CARB.0006_Main.jpg?auto=format,compress","aSnwkXNYClf9nlzC",{"x":156,"y":156,"zoom":172,"background":173},[9636],{"type":23,"text":9637,"spans":9638,"direction":26},"Aída Carballo, Nylon, n.d.",[9639],{"start":281,"end":921,"type":112},{"image":9641,"image_caption":9648},{"dimensions":9642,"alt":7,"copyright":7,"url":9645,"id":9646,"edit":9647},{"width":9643,"height":9644},3913,5408,"https://images.prismic.io/islaa/aSnwqXNYClf9nlzE_CARB.0088_main.jpg?auto=format,compress","aSnwqXNYClf9nlzE",{"x":156,"y":156,"zoom":172,"background":173},[9649],{"type":23,"text":9650,"spans":9651,"direction":26},"Aída Carballo, La lombriz es una pariente leve de la locura, 1963",[9652],{"start":281,"end":1892,"type":112},{"image":9654,"image_caption":9661},{"dimensions":9655,"alt":7,"copyright":7,"url":9658,"id":9659,"edit":9660},{"width":9656,"height":9657},4421,5504,"https://images.prismic.io/islaa/aSnwqHNYClf9nlzD_CARB.0086_main.jpg?auto=format,compress","aSnwqHNYClf9nlzD",{"x":156,"y":156,"zoom":172,"background":173},[9662],{"type":23,"text":9663,"spans":9664,"direction":26},"Aída Carballo, Las extrañas voces de la morada de la locas, 1963",[9665],{"start":281,"end":7679,"type":112},{},{"variation":101,"version":102,"items":9668,"primary":9669,"id":5773,"slice_type":243,"slice_label":7},[],{},{"dimensions":9671,"alt":7,"copyright":7,"url":9672,"id":9673,"edit":9674},{"width":246,"height":247},"https://images.prismic.io/islaa/aLr6kWGNHVfTOta4_Carballo.jpg?auto=format%2Ccompress&rect=62%2C836%2C2104%2C1105&w=2400&h=1260","aLr6kWGNHVfTOta4",{"x":5699,"y":9675,"zoom":9676,"background":173},836,1.1,{"dimensions":9678,"alt":7,"copyright":7,"url":9681,"id":9673,"edit":9682,"Horizontal":9685,"Square - 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Widely known for her immersive documentation of lucha libre, Grobet's early photographic explorations reveal her interest in subverting photography's documentary impulse through performance, color, and conceptual play. ",[9769],{"start":9770,"end":9771,"type":112},304,321,{"type":23,"text":9773,"spans":9774,"direction":26},"In Paisajes pintados, Grobet manipulates the camera not to capture the landscape but to intervene in it. By applying house paint directly to landmarks of the southwest English landscape and then photographing these interventions on chromogenic prints, she blurs the boundaries between representation and reality, landscape and stage, photography and performance. Her images are at once playful and critical, exploring how vision is constructed and how nature becomes spectacle. The result is a body of work that is as much about the act of looking as it is about what is seen. Back in Mexico, she returned to the working process of this series between 1982 and 1983, incorporating new media and using a more vibrant palette.",[9775],{"start":9776,"end":921,"type":112},3,{"type":23,"text":9778,"spans":9779,"direction":26},"The works also reflect Grobet's deep engagement with the political and artistic ferment of her time. As a founding member of the artist collective Proceso Pentágono and a close collaborator with figures such as Felipe Ehrenberg and Marcos Kurtycz (some of whose exchanges can be found in the ISLAA Library and Archives), Grobet embraced experimental strategies that challenged institutional and aesthetic norms. Her practice unsettled both genre and gender, moving fluidly between photography, installation, and conceptual art—always with a keen eye for irony and subversion.",[9780],{"start":9781,"end":9782,"type":630,"data":9783},292,318,{"link_type":73,"url":9784,"target":633},"https://archives.islaa.org/",{"type":23,"text":9786,"spans":9787,"direction":26},"This presentation, drawn entirely from the ISLAA collection, situates Paisajes pintados within a broader reassessment of Grobet's legacy as more than a chronicler of lucha libre. It invites viewers to reconsider her role as a pioneer of Latin American conceptual photography—one whose work remains strikingly contemporary in its critique of visual culture, authorship, and the mediation of place.",[9788],{"start":1501,"end":9789,"type":112},87,{"type":23,"text":8723,"spans":9791,"direction":26},[],{"variation":101,"version":102,"items":9793,"primary":9794,"id":5683,"slice_type":243,"slice_label":7},[],{},{"variation":101,"version":102,"items":9796,"primary":9797,"id":5773,"slice_type":243,"slice_label":7},[],{},{"dimensions":9799,"alt":7,"copyright":7,"url":9800,"id":9801,"edit":9802},{"width":246,"height":247},"https://images.prismic.io/islaa/aYt-YN0YXLCxVqd7_LourdesGrobet_SpotlightHero.jpg?auto=format%2Ccompress&rect=0%2C931%2C2806%2C1473&w=2400&h=1260","aYt-YN0YXLCxVqd7",{"x":156,"y":9803,"zoom":172,"background":173},931,{"dimensions":9805,"alt":7,"copyright":7,"url":9808,"id":9801,"edit":9809,"Square - Large":9810,"Square - Small":9814,"Horizontal":9818},{"width":9806,"height":9807},2806,2781,"https://images.prismic.io/islaa/aYt-YN0YXLCxVqd7_LourdesGrobet_SpotlightHero.jpg?auto=format,compress",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":9811,"alt":7,"copyright":7,"url":9812,"id":9801,"edit":9813},{"width":260,"height":260},"https://images.prismic.io/islaa/aYt-YN0YXLCxVqd7_LourdesGrobet_SpotlightHero.jpg?auto=format%2Ccompress&rect=13%2C0%2C2781%2C2781&w=1000&h=1000",{"x":2640,"y":156,"zoom":172,"background":173},{"dimensions":9815,"alt":7,"copyright":7,"url":9816,"id":9801,"edit":9817},{"width":266,"height":266},"https://images.prismic.io/islaa/aYt-YN0YXLCxVqd7_LourdesGrobet_SpotlightHero.jpg?auto=format%2Ccompress&rect=13%2C0%2C2781%2C2781&w=500&h=500",{"x":2640,"y":156,"zoom":172,"background":173},{"dimensions":9819,"alt":7,"copyright":7,"url":9820,"id":9801,"edit":9821},{"width":266,"height":272},"https://images.prismic.io/islaa/aYt-YN0YXLCxVqd7_LourdesGrobet_SpotlightHero.jpg?auto=format%2Ccompress&rect=0%2C793%2C2806%2C1684&w=500&h=300",{"x":156,"y":9822,"zoom":172,"background":173},793,[],[9825],{"type":23,"text":9826,"spans":9827,"direction":26},"Part of ISLAA's Spotlight series, this presentation features the work of Mexican artist Lourdes Grobet.",[],[9829],{"page":9830},{"link_type":30},[9832],{"shopify_product_handle":7},{"id":561,"uid":566,"url":7,"type":8,"href":9834,"tags":9835,"first_publication_date":564,"last_publication_date":565,"slugs":9836,"linked_documents":9837,"lang":17,"alternate_languages":9838,"data":9839},"https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aW_VZBAAACEATYIq%22%29+%5D%5D",[11],[563],[],[],{"title":9840,"subtitle":9841,"series":9842,"regions":9845,"date":34,"end_date":35,"location":9848,"institutions":9851,"exhibition_materials":9854,"in_the_news":9859,"artists":9860,"curators":9863,"art_movements":9864,"slices":9865,"meta_description":7,"meta_image":9923,"meta_title":7,"preview_image":9928,"preview_image_caption":9947,"preview_description":9953,"related_content":9957,"related_products":9960},"Spotlight: Alejandro Otero",[],[9843],{"series":9844},{"link_type":30},[9846],{"region":9847},{"link_type":30},{"id":37,"type":38,"tags":9849,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":9850,"link_type":30,"key":46,"isBroken":47},[],{"name":45},[9852],{"institution":9853},{"link_type":30},[9855,9857],{"link":9856,"link_label":7},{"link_type":503},{"link":9858,"link_label":7},{"link_type":503},[],[9861],{"artist":9862},{"link_type":30},[],[],[9866],{"variation":101,"version":102,"items":9867,"primary":9868,"id":146,"slice_type":147,"slice_label":7},[],{"text":9869},[9870,9873,9876,9879,9881,9884,9887,9892,9895,9902,9908,9914,9917,9920],{"type":23,"text":9871,"spans":9872,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present a selection of works by Alejandro Otero at ISLAA, as part of the Spotlight series.",[],{"type":23,"text":9874,"spans":9875,"direction":26},"ISLAA Spotlights is a series of focused presentations that highlight works by individual artists across our programmatic spaces. On view during select hours and by appointment, these displays create opportunities for close engagement with artists and ideas that remain underrepresented in dominant art historical narratives, offering a platform to explore their practices in greater depth.",[],{"type":23,"text":9877,"spans":9878,"direction":26},"This Spotlight presentation is organized by Micaela Vindman.",[],{"type":23,"text":8903,"spans":9880,"direction":26},[],{"type":23,"text":9882,"spans":9883,"direction":26},"Alejandro Otero (El Manteco, Venezuela, 1921–1990) was a leading figure of Venezuelan and Latin American modern art. His work played a decisive role in the development of abstraction in the region. Otero spent his childhood in Upata and Ciudad Bolívar. In 1939, at age eighteen, he moved to Caracas, where he studied at the Escuela de Artes Plásticas y Aplicadas under artist Antonio Edmundo Monsanto. His early work focused on figurative subjects, including people, flowers, and landscapes.",[],{"type":23,"text":9885,"spans":9886,"direction":26},"In 1945, Otero traveled to Paris, where he established a studio and became actively involved in the artistic debates of the postwar period. While in France, Otero cofounded Los Disidentes, a group formed by Venezuelan artists and writers living in Paris in the late 1940s and early 1950s. Its members included Jesús Rafael Soto, Mateo Manaure, and Pascual Navarro. Through their work and an eponymous journal, the group critiqued academicism and advocated for abstraction as a contemporary cultural position.",[],{"type":23,"text":9888,"spans":9889,"direction":26},"During these years, his work shifted away from figuration through a series of still-lifes centered on domestic objects—such as coffee pots, utensils, and lamps—that increasingly dissolve into structured, rhythmic compositions of line, form, and surface. These works, later grouped within the Cafeteras (Coffee Makers) series, marked his first sustained engagement with abstraction. They were exhibited in Caracas in the late 1940s, provoking debate and signaling a turning point in Venezuelan modern art.",[9890],{"start":9781,"end":9891,"type":112},301,{"type":23,"text":9893,"spans":9894,"direction":26},"Between 1952 and 1960, Otero returned to Caracas and played a central role in the movement to integrate the visual arts with architecture at the Ciudad Universitaria de Caracas, designed by architect Carlos Raúl Villanueva. The project brought together leading Venezuelan and international artists, including Jesús Rafael Soto, Carlos Cruz-Diez, and Alexander Calder, among others. Within this context, Otero produced monumental works that positioned abstraction as a civic language, embedded in everyday life and inseparable from the spatial and social rhythms of the city.",[],{"type":23,"text":9896,"spans":9897,"direction":26},"In parallel, Otero embarked on an intense period of work on what would become one of the most significant series of his career, the Coloritmos (Colorhythms). In the words of curator Luis Pérez-Oramas, “Coloritmos … are vertical or horizontal rectangular paintings that unfold in countless serial compositional variations. Otero strove for rhythmic-chromatic resonances in these radical works.” They are considered one of the most influential series in Latin American geometric abstraction and among the earliest typologies in the movement.",[9898,9900],{"start":9899,"end":7987,"type":112},132,{"start":9901,"end":5995,"type":112},202,{"type":23,"text":9903,"spans":9904,"direction":26},"In 1951, Otero married the Venezuelan painter Mercedes Pardo, with whom he shared an enduring artistic dialogue. By the early 1960s, he returned to Paris, where his work shifted toward a more intimate and quiet register. During this period, he began exploring assemblage and collage, incorporating found objects such as saws, keys, locks, wires, tin cans, wood fragments, doors, and windows. Otero continued to reorient his work, incorporating personal items such as letters, envelopes and stamps. These works marked a departure from the chromatic systems of the Coloritmos series, while maintaining his commitment to structure and material investigation.",[9905],{"start":9906,"end":9907,"type":112},563,574,{"type":23,"text":9909,"spans":9910,"direction":26},"When Otero returned to Venezuela in the mid-1960s, his work shifted again, incorporating newspapers into his pieces. Painted over but often deliberately left partially legible, these elements introduced fragments of everyday communication and public information into the work, creating a tension between abstraction and reference. This led to the development of Papeles coloreados (Colored Papers), the main series featured in this Spotlight presentation. Choosing the daily press as a raw material allowed him to situate himself in a specific place and moment. Having just returned after living outside Venezuela for four years, it was a way of reconnecting with the reality of his country. Working on paper, Otero explored color as a layered, responsive surface that allowed text, images, and chromatic fields to coexist. These works reveal a quieter, more reflective dimension of his practice, while also registering the social and political atmosphere of their time.",[9911],{"start":9912,"end":9913,"type":112},362,381,{"type":23,"text":9915,"spans":9916,"direction":26},"Alongside these works, this presentation includes a selection of small-scale engravings in which Otero turned to the close study of nature, working in markedly reduced formats and across different media. These works underscore the continuity that runs throughout his career, revealing an ongoing commitment to development rather than rupture. Produced in the late 1960s—a moment when Otero was simultaneously engaged in the realization of large-scale public sculptures—these engravings suggest a return to the point of departure of his practice: renewed attention to observation and to the figurative impulse, now shaped by decades of abstraction. Considered together, these works point to a practice in which earlier concerns return over time, reshaped by new materials, scales, and conditions.",[],{"type":23,"text":9918,"spans":9919,"direction":26},"Otero’s ability to move between the intimate and the monumental—between paintings, works on paper, engravings, assemblages, and large-scale public sculptures—underscores his understanding of abstraction as a living language, shaped by observation, material engagement, and historical circumstance. This expanded conception of abstraction was recognized internationally, notably in his participation in Signals Gallery in London, where his work was positioned within a transnational network of artists rethinking abstraction beyond European and American paradigms. Alejandro Otero’s practice is best understood not as a linear progression but as a sustained inquiry, in which earlier concerns resurface over time, shaped by changing conditions and contexts.",[],{"type":23,"text":9921,"spans":9922,"direction":26},"—Micaela Vindman",[],{"dimensions":9924,"alt":7,"copyright":7,"url":9925,"id":9926,"edit":9927},{"width":246,"height":247},"https://images.prismic.io/islaa/aW_KHwIvOtkhBwLX_Otero2.jpg?auto=format,compress&rect=0,282,822,432&w=2400&h=1260","aW_KHwIvOtkhBwLX",{"x":156,"y":1478,"zoom":172,"background":173},{"dimensions":9929,"alt":7,"copyright":7,"url":9932,"id":9926,"edit":9933,"Square - Large":9934,"Square - Small":9938,"Horizontal":9942},{"width":9930,"height":9931},822,996,"https://images.prismic.io/islaa/aW_KHwIvOtkhBwLX_Otero2.jpg?auto=format,compress",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":9935,"alt":7,"copyright":7,"url":9936,"id":9926,"edit":9937},{"width":260,"height":260},"https://images.prismic.io/islaa/aW_KHwIvOtkhBwLX_Otero2.jpg?auto=format,compress&rect=0,87,822,822&w=1000&h=1000",{"x":156,"y":9789,"zoom":172,"background":173},{"dimensions":9939,"alt":7,"copyright":7,"url":9940,"id":9926,"edit":9941},{"width":266,"height":266},"https://images.prismic.io/islaa/aW_KHwIvOtkhBwLX_Otero2.jpg?auto=format,compress&rect=0,87,822,822&w=500&h=500",{"x":156,"y":9789,"zoom":172,"background":173},{"dimensions":9943,"alt":7,"copyright":7,"url":9944,"id":9926,"edit":9945},{"width":266,"height":272},"https://images.prismic.io/islaa/aW_KHwIvOtkhBwLX_Otero2.jpg?auto=format,compress&rect=0,251,822,493&w=500&h=300",{"x":156,"y":9946,"zoom":172,"background":173},251,[9948],{"type":23,"text":9949,"spans":9950,"direction":26},"Alejandro Otero, Territorial, from the series Papeles coloreados, 1965",[9951,9952],{"start":2680,"end":3256,"type":112},{"start":998,"end":7837,"type":112},[9954],{"type":23,"text":9955,"spans":9956,"direction":26},"Part of ISLAA's Spotlight series, this presentation features work by the Venezuelan artist Alejandro Otero.",[],[9958],{"page":9959},{"link_type":30},[9961],{"shopify_product_handle":7},{"id":570,"uid":575,"url":7,"type":8,"href":9963,"tags":9964,"first_publication_date":573,"last_publication_date":574,"slugs":9965,"linked_documents":9966,"lang":17,"alternate_languages":9967,"data":9968},"https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aW_UBxAAACEATYAE%22%29+%5D%5D",[11],[572],[],[],{"title":9969,"subtitle":9970,"series":9971,"regions":9974,"date":34,"end_date":35,"location":9977,"institutions":9980,"exhibition_materials":9983,"in_the_news":9988,"artists":9989,"curators":9992,"art_movements":9993,"slices":9994,"meta_description":7,"meta_image":10035,"meta_title":10043,"preview_image":10044,"preview_image_caption":10066,"preview_description":10071,"related_content":10075,"related_products":10078},"Spotlight: Diego Barboza",[],[9972],{"series":9973},{"link_type":30},[9975],{"region":9976},{"link_type":30},{"id":37,"type":38,"tags":9978,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":9979,"link_type":30,"key":46,"isBroken":47},[],{"name":45},[9981],{"institution":9982},{"link_type":30},[9984,9986],{"link":9985,"link_label":7},{"link_type":503},{"link":9987,"link_label":7},{"link_type":503},[],[9990],{"artist":9991},{"link_type":30},[],[],[9995],{"variation":101,"version":102,"items":9996,"primary":9997,"id":146,"slice_type":147,"slice_label":7},[],{"text":9998},[9999,10004,10007,10010,10012,10015,10018,10021,10025,10030,10033],{"type":23,"text":10000,"spans":10001,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is pleased to present a Spotlight examining the 1970 art action 30 muchachas con redes by Venezuelan conceptual artist Diego Barboza (1945–2003), as part of the Spotlight series. ",[10002],{"start":10003,"end":448,"type":112},120,{"type":23,"text":10005,"spans":10006,"direction":26},"ISLAA Spotlights is a series of focused in-person and online presentations that highlight works by individual artists. On view during select hours and by appointment, these displays create opportunities for close engagement with artists and ideas that remain underrepresented in dominant art historical narratives, offering a platform to explore their practices in greater depth. ",[],{"type":23,"text":10008,"spans":10009,"direction":26},"This Spotlight presentation is organized by Micaela Vindman. ",[],{"type":23,"text":8903,"spans":10011,"direction":26},[],{"type":23,"text":10013,"spans":10014,"direction":26},"Diego Barboza (1945–2003) was a Venezuelan artist and a pioneer of action art and conceptual practice. Born in Maracaibo, he became known in the 1970s for his expressive works in public spaces across cities including London, Paris, and Caracas. He began his formal training in Maracaibo at the Escuela de Artes Plásticas Julio Arraga and the Escuela de Artes Plásticas Neptalí Rincón, and later continued his studies at the London College of Printing.",[],{"type":23,"text":10016,"spans":10017,"direction":26},"In late 1968, Barboza relocated to London. Immersed in the city’s experimental climate, he deepened his interest in participation, communication, and the dissolution of traditional boundaries between artwork and audience. There, he encountered the work of Hélio Oiticica, whose proposals around participation and lived experience strongly resonated with his own concerns and helped consolidate his approach to action-based work. During this period, Barboza began to articulate what he called “events,” “poetic actions,\" or “expressions”: collective actions—not entirely performance and not fully happenings—carried out in public space and conceived not as objects but as situations to be lived.",[],{"type":23,"text":10019,"spans":10020,"direction":26},"In reflecting on these actions, Barboza wrote: “The language of action operates immediately and directly on reality. It does not merely express a message, as other languages do; rather, the act itself accomplishes what it expresses at the very moment the action takes place.” His actions sought to transform people themselves into matter, texture, and expression. This approach was summarized in his often-repeated phrase, “Art as people / people as art,” underscoring the social and collective character of his practice. Streets, markets, laundromats, and subway stations became sites where everyday life and artistic actions merged, blurring distinctions between art and the routines of the city.",[],{"type":23,"text":10022,"spans":10023,"direction":26},"30 muchachas con redes (30 Girls with Nets, 1970) took place in the streets of London. For this action, Barboza invited thirty young women—friends of the artist—to wear brightly colored nets handmade by him. The participants moved through central streets and a range of everyday urban settings, including markets and restaurants. They were instructed to move through these spaces without acknowledging or responding to the reactions of passersby, maintaining a neutral and ordinary demeanor throughout. The action unfolded through the women’s uninterrupted presence within the city’s daily rhythms, introducing a visual intervention that momentarily altered perceptions of public space through sustained exposure and subtle disruption. This work marked an early articulation of Barboza’s growing interest in the open integration of passersby into the experience of the work. In the early 1970s, he returned to Venezuela, where these strategies were further developed and adapted to local social and cultural contexts.",[10024],{"start":156,"end":2610,"type":112},{"type":23,"text":10026,"spans":10027,"direction":26},"During his time in London, Barboza also appears to have experienced a sense of distance from the vividly colorful and festive qualities of Venezuelan culture, particularly that of his native Maracaibo. From this perspective, actions such as 30 muchachas con redes (30 Girls with Nets) can be read as expressions of longing and displacement. His work was shaped, in part, by memories of childhood that recur throughout his practice, including a sustained desire to address his relationship with his mother and the enduring closeness of his family ties.",[10028],{"start":1814,"end":10029,"type":112},263,{"type":23,"text":10031,"spans":10032,"direction":26},"Recurrent motifs such as domestic objects, flowers, women, gatherings, and references to art historical icons are linked to early experiences and images rooted in nostalgia. Yet rather than evoking loss or longing, Barboza’s practice is characterized by bright color and scenes of celebration and encounter. Nostalgia, for him, functions not as a backward-looking sentiment but as an active and generative space—one that affirms memory as a site of presence and continuity. Barboza sought to reveal the deep interconnection between his actions, his pictorial work, his personal history, and his understanding of art and life. 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Seminar: Watch the recording of this collaboration between MASP and ISLAA.",[10490],{"series":10491},{"link_type":30},{"dimensions":10493,"alt":7,"copyright":7,"url":10496,"id":10497,"edit":10498,"Square":10499,"Horizontal":10503},{"width":10494,"height":10495},2956,2700,"https://images.prismic.io/islaa/aQJR6LpReVYa3zo7_SOTO.0020_main.JPG?auto=format,compress","aQJR6LpReVYa3zo7",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":10500,"alt":7,"copyright":7,"url":10501,"id":10497,"edit":10502},{"width":266,"height":266},"https://images.prismic.io/islaa/aQJR6LpReVYa3zo7_SOTO.0020_main.JPG?auto=format,compress&rect=128,0,2700,2700&w=500&h=500",{"x":3865,"y":156,"zoom":172,"background":173},{"dimensions":10504,"alt":7,"copyright":7,"url":10505,"id":10497,"edit":10506},{"width":266,"height":272},"https://images.prismic.io/islaa/aQJR6LpReVYa3zo7_SOTO.0020_main.JPG?auto=format,compress&rect=0,463,2956,1774&w=500&h=300",{"x":156,"y":9564,"zoom":172,"background":173},[10508],{"type":23,"text":10509,"spans":10510,"direction":26},"Jesús Soto, Metal negro y metal, 1969, Institute for Studies on Latin American Art (ISLAA), New York",[],{"link_type":30},"2025-11-05",[10514],{"institution":10515},{"link_type":30},[10517],{"link":10518,"link_label":7},{"link_type":503},[10520,10530],{"variation":101,"version":102,"items":10521,"primary":10522,"id":10528,"slice_type":10529,"slice_label":7},[],{"title":10523,"video":10524,"video_caption":10527},"MASP Seminars | Soto | 05.11.2025 (English)",{"link_type":73,"key":10525,"url":10526},"664b965d-c688-4328-a460-92a16654524a","https://www.youtube.com/watch?v=6unLhCd1m7E",[],"short_post_video$df38b8ab-638c-4850-8edf-675a09e0575b","short_post_video",{"variation":101,"version":102,"items":10531,"primary":10532,"id":10671,"slice_type":522,"slice_label":7},[],{"text":10533},[10534,10543,10546,10550,10554,10558,10560,10566,10570,10575,10577,10581,10586,10595,10599,10601,10606,10608,10612,10617,10622,10626,10628,10632,10637,10643,10647,10649,10654,10656,10660,10665,10669],{"type":23,"text":10535,"spans":10536,"direction":26},"The Soto Seminar, which took place online on November 5, 2025, can now be viewed in full on our YouTube channel. The event brought together leading scholars and curators to reflect on the legacy of Venezuelan artist Jesús Rafael Soto and the reach of his work beyond Latin American borders, underscoring the emergence of alternative discursive centers in the global field.",[10537,10539],{"start":10538,"end":901,"type":112},4,{"start":845,"end":4688,"type":630,"data":10540},{"link_type":73,"url":10541,"target":10542},"https://www.youtube.com/live/6unLhCd1m7E","_new",{"type":23,"text":10544,"spans":10545,"direction":26},"The seminar was organized by the Museu de Arte de São Paulo Assis Chateaubriand (MASP) in partnership with the Institute for Studies on Latin American Art (ISLAA, New York), as part of the preparatory activities for the exhibition dedicated to Soto that will take place at MASP in 2026. The program was supported by Atelier Soto.",[],{"type":23,"text":10547,"spans":10548,"direction":26},"ORGANIZED BY\nAdriano Pedrosa, Artistic Director, MASP\nMateus Nunes, Assistant Curator, MASP",[10549],{"start":156,"end":967,"type":407},{"type":23,"text":10551,"spans":10552,"direction":26},"COORDINATION\nGlaucea Helena de Britto, Assistant Curator, MASP",[10553],{"start":156,"end":967,"type":407},{"type":23,"text":10555,"spans":10556,"direction":26},"LIVE STREAMING\nThe seminar was broadcast live on MASP’s and ISLAA’s YouTube channels, with simultaneous translation into Portuguese, English, Spanish, French, and Brazilian Sign Language (LIBRAS).",[10557],{"start":156,"end":1039,"type":407},{"type":23,"text":138,"spans":10559,"direction":26},[],{"type":10561,"text":10562,"spans":10563,"direction":26},"heading3","PROGRAM",[10564],{"start":156,"end":10565,"type":407},7,{"type":23,"text":10567,"spans":10568,"direction":26},"November 5, 2025",[10569],{"start":156,"end":901,"type":407},{"type":23,"text":10571,"spans":10572,"direction":26},"10:30–10:40 a.m. (8:30–8:40 a.m. EST)\nINTRODUCTION\nAdriano Pedrosa, Artistic Director, MASP\nAriel Aisiks, Founder and President, ISLAA",[10573,10574],{"start":156,"end":2623,"type":407},{"start":952,"end":180,"type":407},{"type":23,"text":138,"spans":10576,"direction":26},[],{"type":23,"text":10578,"spans":10579,"direction":26},"10:40 a.m.–12:30 p.m. (8:40–10:30 a.m. EST)",[10580],{"start":156,"end":2683,"type":407},{"type":23,"text":10582,"spans":10583,"direction":26},"Arnauld Pierre\nBeyond Material/Immaterial: Soto’s Antimateriality\nThis presentation offers a fresh look at the notion of “immateriality” in Soto’s approach to science and art, proposing the concept of “antimateriality,” drawn from quantum physics—a field dear to Soto. This framework illuminates Soto’s engagement with matter and energy in the atomic age and his affinities with contemporaries such as Victor Vasarely and Yves Klein.",[10584,10585],{"start":156,"end":1039,"type":407},{"start":281,"end":1906,"type":112},{"type":23,"text":10587,"spans":10588,"direction":26},"Luis Pérez-Oramas\nJesús Soto, Lygia Clark, Hélio Oiticica: Rotation, Nachleben and Return of the Square. Afterlives of Constructive Art in Latin America\nThrough a detailed analysis of Soto’s Rotación (1952), this lecture examines the “constructive square” as a conceptual and symbolic element in Latin American modernism, exploring parallels with works by Lygia Clark and Hélio Oiticica and their dialogue with Suprematism.",[10589,10590,10592],{"start":156,"end":2680,"type":407},{"start":157,"end":10591,"type":112},152,{"start":10593,"end":10594,"type":112},191,199,{"type":23,"text":10596,"spans":10597,"direction":26},"Moderation: Mateus Nunes, Assistant Curator, MASP",[10598],{"start":156,"end":9313,"type":407},{"type":23,"text":138,"spans":10600,"direction":26},[],{"type":23,"text":10602,"spans":10603,"direction":26},"12:30–2:00 p.m. (10:30 a.m.–12:00 p.m. EST)\nBreak",[10604,10605],{"start":156,"end":2683,"type":407},{"start":4504,"end":6697,"type":112},{"type":23,"text":138,"spans":10607,"direction":26},[],{"type":23,"text":10609,"spans":10610,"direction":26},"2:00–3:30 p.m. (12:00–1:30 p.m. EST)",[10611],{"start":156,"end":983,"type":407},{"type":23,"text":10613,"spans":10614,"direction":26},"Sean Nesselrode Moncada\nFlux Matter: Soto’s Vibrations\nThis lecture considers vibration as a key operation in Soto’s work, linking matter and energy while situating his practice within the extractive and atomic context of postwar modernity.",[10615,10616],{"start":156,"end":2546,"type":407},{"start":628,"end":405,"type":112},{"type":23,"text":10618,"spans":10619,"direction":26},"Juan Ledezma\nSoto’s “Idea of a Country”\nThrough Soto’s engagement with architecture and abstraction, this talk explores how kinetic art paralleled Venezuelan discourses on social transformation and national identity in the 1960s.",[10620,10621],{"start":156,"end":967,"type":407},{"start":2640,"end":3196,"type":112},{"type":23,"text":10623,"spans":10624,"direction":26},"Moderation: Isabela Ferreira Loures, Curatorial Assistant, MASP",[10625],{"start":156,"end":9313,"type":407},{"type":23,"text":138,"spans":10627,"direction":26},[],{"type":23,"text":10629,"spans":10630,"direction":26},"3:30–4:30 p.m. (1:30–2:30 p.m. EST)",[10631],{"start":156,"end":8615,"type":407},{"type":23,"text":10633,"spans":10634,"direction":26},"Paola Santos Coy\nSpatial Scores\nThis lecture explores the intersections between Soto’s work and music, highlighting how vibration operates as an aesthetic and structural principle that connects sound, matter, and perception.",[10635,10636],{"start":156,"end":901,"type":407},{"start":2680,"end":2711,"type":112},{"type":23,"text":10638,"spans":10639,"direction":26},"Estrellita B. Brodsky\nDisplacement as an Aesthetic Strategy: Jesús Soto in Paris, 1950–1970\nFocusing on Soto’s Paris years, this lecture examines displacement as both an aesthetic and critical strategy, situating Soto within the transatlantic avant-garde networks that reshaped postwar abstraction.",[10640,10641],{"start":156,"end":179,"type":407},{"start":2610,"end":10642,"type":112},91,{"type":23,"text":10644,"spans":10645,"direction":26},"Moderation: Agustín Diez Fischer, Senior Manager of Research and Archives, ISLAA",[10646],{"start":156,"end":9313,"type":407},{"type":23,"text":138,"spans":10648,"direction":26},[],{"type":23,"text":10650,"spans":10651,"direction":26},"4:30–5:30 p.m. (2:30–3:30 p.m. EST)\nBreak",[10652,10653],{"start":156,"end":8615,"type":407},{"start":983,"end":2666,"type":112},{"type":23,"text":138,"spans":10655,"direction":26},[],{"type":23,"text":10657,"spans":10658,"direction":26},"5:30–6:30 p.m. (3:30–4:30 p.m. EST)",[10659],{"start":156,"end":8615,"type":407},{"type":23,"text":10661,"spans":10662,"direction":26},"Ariel Jiménez\nJesús Soto: Immaterials\nThis closing lecture reflects on Soto’s artistic processes between 1949 and 1962, tracing his efforts to render visible the immaterial and energetic forces he believed governed the universe.",[10663,10664],{"start":156,"end":2640,"type":407},{"start":1039,"end":2623,"type":112},{"type":23,"text":10666,"spans":10667,"direction":26},"Moderation: Fernando Oliva, Curator, MASP",[10668],{"start":156,"end":9313,"type":407},{"type":23,"text":138,"spans":10670,"direction":26},[],"text$6b408571-ec95-4994-ae09-2abcb7c1c55a",{},{"dimensions":10674,"alt":7,"copyright":7,"url":10675,"id":10497,"edit":10676,"Square - 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Presented in Buenos Aires before traveling to Asunción at the invitation of artist Feliciano Centurión, the exhibition reflected on the social construction of gender and everyday forms of oppression faced by women, representing a little-known chapter in the history of feminist art. The book’s release coincides with ISLAA’s current presentation Violaciones Domésticas: Feminist Constellations in 1990s Argentina, on view through December 20.\n\nThis program will feature a presentation by Andrea Giunta, visiting scholar and professor at the Program in Latin American Studies (PLAS) at Princeton University, followed by a conversation moderated by Alessandra Russo, professor and chair in the Department of Latin American and Iberian Cultures and director of the Hispanic Institute at Columbia University. The event will be in English and will take place at ISLAA, located at 142 Franklin Street in Tribeca. Seating is limited, and advance registration is encouraged.",[10768,10771,10773,10774,10776],{"start":983,"end":4504,"type":630,"data":10769},{"link_type":73,"url":10770,"target":633},"https://forms.gle/Xfj5dbvQhW4nC6sx7",{"start":10772,"end":1319,"type":112},103,{"start":7128,"end":9160,"type":112},{"start":5244,"end":10775,"type":112},835,{"start":5244,"end":10775,"type":630,"data":10777},{"link_type":73,"url":10778,"target":633},"https://islaa.us5.list-manage.com/track/click?u=9ec14d9ab320ed462cfdf3340&id=924380b552&e=dee7115317",{"type":23,"text":10780,"spans":10781,"direction":26},"\nABOUT THE SPEAKERS",[],{"type":23,"text":10783,"spans":10784,"direction":26},"Andrea Giunta is a writer, professor, and curator. She received her doctorate from the Universidad de Buenos Aires, where she was professor of modern and contemporary Latin American art from the nineteenth to the twenty-first centuries, and of international art of the twentieth and twenty-first centuries. She is a senior researcher at the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), Argentina. Her recent books include Diversidad y arte latinoamericano. Historias de artistas que rompieron el techo de cristal (Siglo XXI Argentina, Mexico, Madrid, 2024), The Political Body: Stories on Art, Feminism, and Emancipation in Latin America (UCPress, Chicago, 2023), Contra o cânone (Nave, Santa Catarina, Brazil, 2022), Puisqu’il fallait tout repenser (delpire&co, Paris, 2021), Contra el canon. El arte contemporáneo en un mundo sin centro (Siglo XXI, 2020), and Feminismo y arte latinoamericano. Historias de artistas que emanciparon el cuerpo (Siglo XXI Argentina and México, 2018). Giunta is visiting professor at Humboldt University, Berlin; Columbia University; New York University; and EHESS, Paris, among others. Among her curatorial projects stands out the retrospective of León Ferrari (CCR, 2004; Pinacoteca de São Paulo, 2006), Verboamérica (co-curator, Malba, 2016), Radical Women: Latin American Art, 1960-1985 (co-curated at Hammer Museum, LA, Brooklyn Museum, NY, Pinacoteca de São Paulo, 2017–18); Biennial 12, Feminine(s): Visualities, Actions and Affections (chief curator, Porto Alegre, Brazil, 2020); Asir la vida. Mujeres artistas en Chile, 1965–1990 (Museo Nacional de Bellas Artes, Santiago, 2024); and Rosana Paulino. Amefricana (co-curator, Malba, 2024). She received the Konex award four times (including the Platinum one in 2024); the Tinker, Guggenheim, Harrington, Getty, Rockefeller international scholarships, and the Rudolf Arnheim professorship. She has been a member of the artistic committee of Malba since 2014 and is a full member of the National Academy of Fine Arts, Argentina. Giunta is currently visiting scholar and professor at the Program in Latin American Studies (PLAS) at Princeton University.\n\nAlessandra Russo is an art historian, professor and the chair in the Department of Latin American and Iberian Cultures, and director of the Hispanic Institute at Columbia University. She is the author of A New Antiquity. Art and Humanity as Universal, 1400-1600 (2024), The Untranslatable Image (2015), and El Realismo Circular (2005), and editor of Images Take Flight (with G. Wolf and D. Fane, 2015). She has directed, with Michael Cole, the Getty Foundation Connecting Art Histories project Spanish Italy and the Iberian Americas (forthcoming in 2026). Russo has curated several exhibitions and participates in the advisory boards of the Metropolitan Museum of Art. She is currently writing a new book titled The Rise of Curatorship. Sebastiano Biavati and the Early Modern Museum.",[10785,10788,10791,10793,10794,10797,10799,10802,10805,10808,10811,10814,10816,10819,10822,10823,10826],{"start":10786,"end":10787,"type":112},447,538,{"start":10789,"end":10790,"type":112},583,662,{"start":2588,"end":10792,"type":112},704,{"start":7140,"end":6026,"type":112},{"start":10795,"end":10796,"type":112},802,863,{"start":10798,"end":1495,"type":112},887,{"start":10800,"end":10801,"type":112},1263,1275,{"start":10803,"end":10804,"type":112},1303,1347,{"start":10806,"end":10807,"type":112},1438,1499,{"start":10809,"end":10810,"type":112},1545,1595,{"start":10812,"end":10813,"type":112},1650,1676,{"start":3867,"end":10815,"type":112},2427,{"start":10817,"end":10818,"type":112},2436,2460,{"start":10820,"end":10821,"type":112},2473,2493,{"start":7317,"end":7182,"type":112},{"start":10824,"end":10825,"type":112},2660,2698,{"start":10827,"end":10828,"type":112},2878,2949,"text$84271eb7-82bd-4788-bbde-81cd1a6e0a8a",{"dimensions":10831,"alt":7,"copyright":7,"url":10832,"id":10719,"edit":10833},{"width":246,"height":247},"https://images.prismic.io/islaa/aQkPhrpReVYa3-DK_VDbooklaunch.gif?auto=format,compress&rect=0,136,1920,1008&w=2400&h=1260",{"x":156,"y":7157,"zoom":172,"background":173},{"dimensions":10835,"alt":7,"copyright":7,"url":10718,"id":10719,"edit":10836,"Square - 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Ondine Chavoya, John D. Murchison Regents Professor of Art at the University of Texas at Austin, will serve as the keynote lecturer. His talk, “What Becomes an Icon Most? Rosa de la Montaña and Patssi Valdez, A Meditation on Ephemera, Archives, and Exhibitions,” will be followed by a conversation with Chavoya and a reception. ",[],{"type":23,"text":10925,"spans":10926,"direction":26},"This Encuentro marks the third collaboration between the Association for Latin American Art and ISLAA, continuing a series of keynote presentations by Natalia Majluf (2025) and Esther Gabara (2024). ",[],{"type":23,"text":138,"spans":10928,"direction":26},[],{"type":23,"text":10930,"spans":10931,"direction":26},"The event is open to all registered CAA attendees. ",[],"text$afc6e98f-12d6-4a9c-863b-c47204863acb",{},{"dimensions":10935,"alt":7,"copyright":7,"url":10879,"id":10880,"edit":10936,"Square - Large":10937,"Square - Small":10941,"Horizontal":10944},{"width":10877,"height":10878},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":10938,"alt":7,"copyright":7,"url":10939,"id":10880,"edit":10940},{"width":260,"height":260},"https://images.prismic.io/islaa/aWaSqgIvOtkhBdZD_ondine-1-.jpg?auto=format,compress&rect=0,900,5400,5400&w=1000&h=1000",{"x":156,"y":10891,"zoom":172,"background":173},{"dimensions":10942,"alt":7,"copyright":7,"url":10889,"id":10880,"edit":10943},{"width":266,"height":266},{"x":156,"y":10891,"zoom":172,"background":173},{"dimensions":10945,"alt":7,"copyright":7,"url":10884,"id":10880,"edit":10946},{"width":266,"height":272},{"x":156,"y":10886,"zoom":172,"background":173},[10948],{"type":23,"text":10871,"spans":10949,"direction":26},[],[],[10952],{"page":10953},{"link_type":30},[10955],{"shopify_product_handle":7},{"id":10957,"uid":10958,"url":7,"type":6292,"href":10959,"tags":10960,"first_publication_date":10961,"last_publication_date":10962,"slugs":10963,"linked_documents":10965,"lang":17,"alternate_languages":10966,"data":10967},"aHUCxRcAACUA1ImU","lorenzo-homar","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aHUCxRcAACUA1ImU%22%29+%5D%5D",[11],"2025-07-14T13:14:49+0000","2025-08-20T18:32:24+0000",[10964],"latin-american-design-a-dialogue",[],[],{"title":10968,"series":10969,"hero_image":10972,"hero_image_caption":10986,"location":10987,"date":10995,"end_date":7,"institutions":10996,"slices":10999,"meta_description":7,"meta_image":11030,"meta_title":7,"preview_image":11031,"preview_description":11044,"related_content":11045,"related_products":11048},"Latin American Design: A Dialogue",[10970],{"series":10971},{"link_type":30},{"dimensions":10973,"alt":7,"copyright":7,"url":10975,"id":10976,"edit":10977,"Square":10978,"Horizontal":10982},{"width":10974,"height":10974},884,"https://images.prismic.io/islaa/aHUB_kMqNJQqH10P_PH.8115-updated-aspect-ratio-1-1-1.jpg?auto=format,compress","aHUB_kMqNJQqH10P",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":10979,"alt":7,"copyright":7,"url":10980,"id":10976,"edit":10981},{"width":266,"height":266},"https://images.prismic.io/islaa/aHUB_kMqNJQqH10P_PH.8115-updated-aspect-ratio-1-1-1.jpg?auto=format,compress&rect=0,0,884,884&w=500&h=500",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":10983,"alt":7,"copyright":7,"url":10984,"id":10976,"edit":10985},{"width":266,"height":272},"https://images.prismic.io/islaa/aHUB_kMqNJQqH10P_PH.8115-updated-aspect-ratio-1-1-1.jpg?auto=format,compress&rect=0,177,884,530&w=500&h=300",{"x":156,"y":5980,"zoom":172,"background":173},[],{"id":10988,"type":38,"tags":10989,"lang":17,"slug":10990,"first_publication_date":10991,"last_publication_date":10991,"uid":10990,"data":10992,"link_type":30,"key":10994,"isBroken":47},"aHUCZBcAACQA1Ij5",[],"poster-house","2025-07-14T13:13:15+0000",{"name":10993},"Poster House","0f5e45a2-c874-4cbb-8a0a-5fcf64c55a68","2025-08-29",[10997],{"institution":10998},{"link_type":30},[11000],{"variation":101,"version":102,"items":11001,"primary":11002,"id":11029,"slice_type":522,"slice_label":7},[],{"text":11003},[11004,11011,11014,11017,11020,11023],{"type":23,"text":11005,"spans":11006,"direction":26},"In connection with Puerto Rico in Print: The Posters of Lorenzo Homar, Poster House presents an intimate dialogue exploring the rich legacy of Latin American design. This program brings together experts Ramdwin González-Otero and Dr. Agustín Díez Fischer to discuss the intersection of art, politics, and cultural identity across the region.",[11007,11008],{"start":2665,"end":136,"type":112},{"start":2665,"end":136,"type":630,"data":11009},{"link_type":73,"url":11010,"target":633},"https://posterhouse.org/exhibition/puerto-rico-in-print-the-posters-of-lorenzo-homar/",{"type":23,"text":11012,"spans":11013,"direction":26},"The conversation will consider Lorenzo Homar’s practice through comparative perspectives and transnational frameworks. The speakers will reflect on how local histories, from contemporary experiences in the Southern Cone to Puerto Rico’s lettering-driven poster tradition, connect to contemporary forms of visual protest and institutional design while situating Homar’s work within broader movements in design, film, and the graphic arts.",[],{"type":23,"text":11015,"spans":11016,"direction":26},"This conversational format offers both scholarly insight and space for audience engagement. Don’t miss this unique opportunity to learn more about the dynamic and evolving history of Latin American design!",[],{"type":23,"text":11018,"spans":11019,"direction":26},"Ramdwin González-Otero is a designer, educator, and entrepreneur from the Caguas Valley in Puerto Rico whose practice spans brand strategy, science communication, and creative direction. He is a partner at the design studio Tembol and cofounder of the community‑minded venture 404 Coffee & Beers. He is also an Aspen Ideas Fellow. González-Otero’s interests and research engage cultural studies and national identity in Puerto Rico and the broader Caribbean, analyzing how visual culture shapes collective memory and civic discourse. Coming from a graffiti background, he focuses on lettering as both a political and aesthetic medium, tracing its role from the lettering‑driven posters of the “Generación del 50” to contemporary forms of graphic protest. He has served as an adjunct instructor at the School of Design and Architecture in Puerto Rico, exploring with his students the colonial paradigms embedded in the discipline. His collaborative work with cultural, private, and nonprofit organizations has earned him recognition from the Latin American Design Awards, the Ibero‑American Design Biennial, and the Falling Walls Science Summit.",[],{"type":23,"text":11021,"spans":11022,"direction":26},"Dr. Agustín Díez Fischer has a Ph.D. in Art History and Theory from the University of Buenos Aires. From 2017 to 2023, he served as Director of the Centro de Estudios Espigas in Buenos Aires, a research center and archive focused on Latin American art. Díez Fischer has received numerous grants and fellowships, including the Terra Foundation Travel Grant, and held positions as a Visiting Research Scholar and Visiting Assistant Professor in the program in Latin American Studies at Princeton University. From 2023 to 2024, he was the Craig M. Cogut Visiting Professor at the Center for Latin American and Caribbean Studies at Brown University. He is currently the Senior Manager of Research and Archives at the Institute for Studies on Latin American Art (ISLAA) in New York.",[],{"type":23,"text":11024,"spans":11025,"direction":26},"Accessibility Note: Masks and clear masks are available free of charge at the museum. Assistive listening devices and stools are available. ASL (American Sign Language) interpretation or a CART (Communication Access Realtime Translation) is also available upon request. Please contact access@posterhouse.org or (914) 295-2387 to request interpretation services and to address any other accessibility needs. For other event-related questions, please contact info@posterhouse.org.",[11026],{"start":5953,"end":3896,"type":630,"data":11027},{"link_type":73,"url":11028,"target":633},"mailto:info@posterhouse.org","text$fa1160c4-b0b8-438c-b616-c043dd345b01",{},{"dimensions":11032,"alt":7,"copyright":7,"url":10975,"id":10976,"edit":11033,"Square - Large":11034,"Square - Small":11038,"Horizontal":11041},{"width":10974,"height":10974},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11035,"alt":7,"copyright":7,"url":11036,"id":10976,"edit":11037},{"width":260,"height":260},"https://images.prismic.io/islaa/aHUB_kMqNJQqH10P_PH.8115-updated-aspect-ratio-1-1-1.jpg?auto=format,compress&rect=0,0,884,884&w=1000&h=1000",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11039,"alt":7,"copyright":7,"url":10980,"id":10976,"edit":11040},{"width":266,"height":266},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11042,"alt":7,"copyright":7,"url":10984,"id":10976,"edit":11043},{"width":266,"height":272},{"x":156,"y":5980,"zoom":172,"background":173},[],[11046],{"page":11047},{"link_type":30},[11049],{"shopify_product_handle":7},{"id":11051,"uid":11052,"url":7,"type":464,"href":11053,"tags":11054,"first_publication_date":11055,"last_publication_date":11056,"slugs":11057,"linked_documents":11059,"lang":17,"alternate_languages":11060,"data":11061},"aJuW6hMAACIABv4M","opening-reception-thursday-october-16-2025-5-8pmbe","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aJuW6hMAACIABv4M%22%29+%5D%5D",[11],"2025-08-12T19:33:09+0000","2025-08-12T19:38:38+0000",[11058],"public-opening-reception-for-artes-visuales-the-latin-american-avant-garde-in-print",[],[],{"title":11062,"series":11063,"hero_image":11066,"hero_caption":11079,"location":11080,"date":11090,"end_date":7,"institutions":11091,"linked_material":11099,"slices":11102,"meta_description":7,"meta_image":11161,"meta_title":7,"preview_image":11162,"preview_description":11175,"preview_image_caption":11176,"related_content":11177,"related_products":11180},"Public Opening Reception for Artes Visuales: The Latin American Avant-Garde in Print",[11064],{"series":11065},{"link_type":30},{"dimensions":11067,"alt":7,"copyright":7,"url":11068,"id":11069,"edit":11070,"Square":11071,"Horizontal":11075},{"width":6757,"height":4662},"https://images.prismic.io/islaa/aJuWiaTt2nPbaPju_fig%2B1.jpg.webp?auto=format,compress","aJuWiaTt2nPbaPju",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11072,"alt":7,"copyright":7,"url":11073,"id":11069,"edit":11074},{"width":266,"height":266},"https://images.prismic.io/islaa/aJuWiaTt2nPbaPju_fig%2B1.jpg.webp?auto=format,compress&rect=0,115,1004,1004&w=500&h=500",{"x":156,"y":4779,"zoom":172,"background":173},{"dimensions":11076,"alt":7,"copyright":7,"url":11077,"id":11069,"edit":11078},{"width":266,"height":272},"https://images.prismic.io/islaa/aJuWiaTt2nPbaPju_fig%2B1.jpg.webp?auto=format,compress&rect=0,316,1004,602&w=500&h=300",{"x":156,"y":9161,"zoom":172,"background":173},[],{"id":11081,"type":38,"tags":11082,"lang":17,"slug":11083,"first_publication_date":11084,"last_publication_date":11085,"uid":11086,"data":11087,"link_type":30,"key":11089,"isBroken":47},"ZSRSOhAAACMApUS6",[],"hunter-college","2023-10-09T19:19:28+0000","2023-11-04T04:24:25+0000","hunter-college-art-galleries",{"name":11088},"Hunter College","c2ef316b-549e-4e4a-b36a-68c2de7c445f","2025-10-16",[11092],{"institution":11093},{"id":11094,"type":327,"tags":11095,"lang":17,"slug":40,"first_publication_date":11096,"last_publication_date":11096,"uid":11097,"link_type":30,"key":11098,"isBroken":47},"ZUXQZRAAAF9rvBDa",[],"2023-11-04T05:02:34+0000","institute-for-studies-on-latin-american-art-islaa","baee9b6e-7f4a-4c3f-8822-f795a1f0f3be",[11100],{"link":11101,"link_label":7},{"link_type":503},[11103],{"variation":101,"version":102,"items":11104,"primary":11105,"id":11160,"slice_type":522,"slice_label":7},[],{"text":11106},[11107,11112,11116,11120,11124,11128,11132,11135,11137,11141,11145,11147,11151,11153],{"type":23,"text":11108,"spans":11109,"direction":26},"Opening Reception: Thursday, October 16, 2025, 5-8pm\nBertha and Karl Leubsdorf Gallery\nHunter West Building\n132 East 68th Street (at Lexington)\nNew York, NY 10065",[11110,11111],{"start":156,"end":3605,"type":407},{"start":403,"end":7313,"type":407},{"type":23,"text":11113,"spans":11114,"direction":26},"On view October 16 - December 13, 2025",[11115],{"start":156,"end":952,"type":407},{"type":23,"text":11117,"spans":11118,"direction":26},"Additional programming details forthcoming.",[11119],{"start":156,"end":2683,"type":112},{"type":23,"text":11121,"spans":11122,"direction":26},"ABOUT THE EXHIBITION",[11123],{"start":156,"end":921,"type":407},{"type":23,"text":11125,"spans":11126,"direction":26},"Gathering artists whose work appeared in the influential magazine published by Mexico’s Museo de Arte Moderno and directed by Carla Stellweg from 1973 to 1981, the exhibition calls attention to an international community of experimental makers. Featuring artworks by Álvaro Barrios (Colombia), Luis Camnitzer (Uruguay and the United States), Antonio Caro (Colombia), Manuel Felguérez (Mexico), Vicente Rojo (Spain and Mexico), Regina Vater (Brazil), Anna Bella Geiger (Brazil), Jorge Caraballo (Uruguay), Alfredo Portillos (Argentina), Marta Palau (Spain and Mexico), Victor Grippo (Argentina) and others, this rigorously researched exhibition and accompanying catalog demonstrate how this groundbreaking periodical expanded the bounds of art and cultivated a community for innovative creative practice. Curated by Harper Montgomery, Director of the Hunter College Art Galleries, with MA and MFA students enrolled in the Advanced Curatorial Certificate Seminar and curatorial student fellows: Reuben Gordon, Lisa Mason, and Grace Sanabria. This exhibition is organized in collaboration with the Institute for Studes on Latin American Art (ISLAA).",[11127],{"start":7340,"end":5134,"type":112},{"type":23,"text":11129,"spans":11130,"direction":26},"The catalog features an interview with Carla Stellweg, essays on painting, page art, photography, and performance, as well as a chronology and bibliography related to the activities and publications of Stellweg and the circle of artists and critics she gathered on the pages of Artes Visuales.",[11131],{"start":5947,"end":9781,"type":112},{"type":23,"text":11133,"spans":11134,"direction":26},"This exhibition is made possible by The Leonard A. Lauder Exhibition and Catalogue Fund and the Institute for Studies on Latin American Art (ISLAA). The exhibition's catalog has been supported by a grant from the Wolf Kahn Foundation and the Emily Mason and Alice Trumbull Mason Foundation on behalf of artists Emily Mason and Wolf Kahn.",[],{"type":23,"text":138,"spans":11136,"direction":26},[],{"type":23,"text":11138,"spans":11139,"direction":26},"PUBLICATION",[11140],{"start":156,"end":9313,"type":407},{"type":23,"text":11142,"spans":11143,"direction":26},"Coming in Spring 2026, Hunter College and Marquand Books will co-publish an exhibition catalog to accompany Artes Visuales, The Latin American Avant-Garde in Print.",[11144],{"start":111,"end":7582,"type":112},{"type":23,"text":138,"spans":11146,"direction":26},[],{"type":23,"text":11148,"spans":11149,"direction":26},"ABOUT THE HUNTER COLLEGE ART GALLERIES\n\nPart of the college’s Department of Art and Art History, the Hunter College Art Galleries have contributed to New York City’s vital cultural landscape since their inception over a quarter of a century ago. The galleries provide a space for critical engagement with art and pedagogy, bringing together historical scholarship, contemporary artistic practice, and experimental methodology. The 205 Hudson Gallery on the department’s MFA Studio Art Campus in Tribeca is dedicated to presenting exhibitions and programming that engage issues critical to contemporary art and artists. In Spring semesters, the gallery also hosts a series of MFA thesis exhibitions. Located on Hunter’s main campus at 68th Street and Lexington Avenue, the Bertha and Karl Leubsdorf Gallery presents research-driven historical exhibitions that provide new scholarship on important and often under-represented artists and art movements. The Hunter East Harlem Gallery, located in the Silberman School of Social Work at 119th Street and 3rd Avenue, is dedicated to collaborative social practice and art and artists engaged with issues relevant to the East Harlem community and to the city more broadly.",[11150],{"start":156,"end":952,"type":407},{"type":23,"text":138,"spans":11152,"direction":26},[],{"type":23,"text":11154,"spans":11155,"direction":26},"PRESS INQUIRIES\nE-mail Aleeq Kroshian, aleeq.kroshian@hunter.cuny.edu",[11156,11157],{"start":156,"end":901,"type":407},{"start":3196,"end":136,"type":630,"data":11158},{"link_type":73,"url":11159,"target":633},"mailto:aleeq.kroshian@hunter.cuny.edu","text$317b5659-ffe9-4c78-9ec8-69e54dd9474d",{},{"dimensions":11163,"alt":7,"copyright":7,"url":11068,"id":11069,"edit":11164,"Square - Large":11165,"Square - Small":11169,"Horizontal":11172},{"width":6757,"height":4662},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11166,"alt":7,"copyright":7,"url":11167,"id":11069,"edit":11168},{"width":260,"height":260},"https://images.prismic.io/islaa/aJuWiaTt2nPbaPju_fig%2B1.jpg.webp?auto=format,compress&rect=0,115,1004,1004&w=1000&h=1000",{"x":156,"y":4779,"zoom":172,"background":173},{"dimensions":11170,"alt":7,"copyright":7,"url":11073,"id":11069,"edit":11171},{"width":266,"height":266},{"x":156,"y":4779,"zoom":172,"background":173},{"dimensions":11173,"alt":7,"copyright":7,"url":11077,"id":11069,"edit":11174},{"width":266,"height":272},{"x":156,"y":9161,"zoom":172,"background":173},[],[],[11178],{"page":11179},{"link_type":30},[11181],{"shopify_product_handle":7},{"id":11183,"uid":11184,"url":7,"type":464,"href":11185,"tags":11186,"first_publication_date":11187,"last_publication_date":11188,"slugs":11189,"linked_documents":11191,"lang":17,"alternate_languages":11192,"data":11193},"aKSmAhEAACIA2GBl","2025-islaa-plataforma-forum-keynote-dr.-claudia-ma","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aKSmAhEAACIA2GBl%22%29+%5D%5D",[11],"2025-08-19T16:36:36+0000","2025-08-20T01:22:00+0000",[11190],"2025-islaa-plataforma-forum-keynote-lecture-dr.-claudia-mattos-avolese",[],[],{"title":11194,"series":11195,"hero_image":11198,"hero_caption":11213,"location":11218,"date":11219,"end_date":7,"institutions":11220,"linked_material":11230,"slices":11231,"meta_description":7,"meta_image":11290,"meta_title":7,"preview_image":11291,"preview_description":11304,"preview_image_caption":11305,"related_content":11309,"related_products":11312},"2025 ISLAA Plataforma Forum Keynote: Dr. Claudia Mattos Avolese",[11196],{"series":11197},{"link_type":30},{"dimensions":11199,"alt":7,"copyright":7,"url":11202,"id":11203,"edit":11204,"Square":11205,"Horizontal":11209},{"width":11200,"height":11201},1100,701,"https://images.prismic.io/islaa/aKUjEaTt2nPbafe6_2025PLATAFORMA_CUNYxISLAA_11x17_FINAL2.png?auto=format,compress","aKUjEaTt2nPbafe6",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11206,"alt":7,"copyright":7,"url":11207,"id":11203,"edit":11208},{"width":266,"height":266},"https://images.prismic.io/islaa/aKUjEaTt2nPbafe6_2025PLATAFORMA_CUNYxISLAA_11x17_FINAL2.png?auto=format,compress&rect=200,0,701,701&w=500&h=500",{"x":4705,"y":156,"zoom":172,"background":173},{"dimensions":11210,"alt":7,"copyright":7,"url":11211,"id":11203,"edit":11212},{"width":266,"height":272},"https://images.prismic.io/islaa/aKUjEaTt2nPbafe6_2025PLATAFORMA_CUNYxISLAA_11x17_FINAL2.png?auto=format,compress&rect=0,21,1100,660&w=500&h=300",{"x":156,"y":179,"zoom":172,"background":173},[11214],{"type":23,"text":11215,"spans":11216,"direction":26},"Denilson Baniwa, Escola Panapaná, Pinacoteca do Estado, São Paulo, 2023. Courtesy of the artist",[11217],{"start":901,"end":629,"type":112},{"link_type":30},"2025-11-17",[11221],{"institution":11222},{"id":11223,"type":327,"tags":11224,"lang":17,"slug":11225,"first_publication_date":11226,"last_publication_date":11227,"uid":11228,"link_type":30,"key":11229,"isBroken":47},"ZRZaJBEAACEAfdha",[],"gc-cuny","2023-09-29T05:01:30+0000","2023-11-04T04:50:49+0000","the-graduate-center-cuny","2f5a36fb-3b7d-46fc-82ea-5626fa9b6ed3",[],[11232],{"variation":101,"version":102,"items":11233,"primary":11234,"id":11289,"slice_type":522,"slice_label":7},[],{"text":11235},[11236,11240,11243,11246,11252,11256,11258,11263,11269,11271,11273,11276,11279,11281,11287],{"type":10561,"text":11237,"spans":11238,"direction":26},"2025 ISLAA Plataforma Forum Keynote Lecture: Dr. Claudia Mattos Avolese",[11239],{"start":156,"end":7145,"type":407},{"type":23,"text":11241,"spans":11242,"direction":26},"Monday, November 17, 2025, 6-7:30pm",[],{"type":23,"text":11244,"spans":11245,"direction":26},"Skylight Room, 9th floor, The Graduate Center, City University of New York (CUNY)",[],{"type":23,"text":11247,"spans":11248,"direction":26},"RSVP ",[11249],{"start":156,"end":10538,"type":630,"data":11250},{"link_type":73,"url":11251,"target":633},"https://www.eventbrite.com/e/2025-islaa-plataforma-forum-keynote-dr-claudia-mattos-avolese-tickets-1574468440489?aff=oddtdtcreator",{"type":23,"text":11253,"spans":11254,"direction":26},"Reception to follow",[11255],{"start":156,"end":2665,"type":112},{"type":23,"text":138,"spans":11257,"direction":26},[],{"type":10561,"text":11259,"spans":11260,"direction":26},"'Artist Becoming': Community engagement in contemporary Indigenous art in Brazil",[11261],{"start":156,"end":11262,"type":407},80,{"type":23,"text":11264,"spans":11265,"direction":26},"In 2023 the Brazilian Indigenous artist Denilson Baniwa was invited to create an artwork for the Octogono in the São Paulo Pinacoteca, one of the most prestigious art spaces for the arts in the city. Instead of a traditional art piece, he proposed to build a three-story high metal structure designed to host a series of community-based activities, spanning from Baniwa and Guarani language classes, to indigenous music and performances. As the structure was occupied, two colorful wings slowly spread out at each side to create the image of a gigantic butterfly, or Panapaná in Guarani. The work was titled Escola Panapaná, or Butterfly School. Denilson Baniwa is not alone in his recent engagement with community. Other Indigenous artists who entered the Brazilian art scene in the last few decades, such as Daiara Tukano, Jaider Esbell, Gustavo Caboco Wapishana, Gliceria Tupinambá, are equally reflecting on how to navigate the contemporary art world, while also building and maintaining meaningful relationship to their original communities. For most of these artists, community has become a major concern and an integral part of their work. This paper will look at some examples of why and how contemporary Indigenous artists in Brazil are focusing on community -based practices and offer some remarks on the challenges that this poses to Art History.",[11266],{"start":11267,"end":11268,"type":112},567,575,{"type":23,"text":138,"spans":11270,"direction":26},[],{"type":23,"text":138,"spans":11272,"direction":26},[],{"type":10561,"text":11274,"spans":11275,"direction":26},"About Claudia Mattos Avolese",[],{"type":23,"text":11277,"spans":11278,"direction":26},"A native of Rio de Janeiro, Brazil, Claudia Mattos Avolese obtained her PhD in art history from the Free University in Berlin, Germany, and was an associate fellow at the Courtauld Institute in London for a year. In 2003 she became a professor for the history of art at the University of Campinas (UNICAMP), in Brazil, where she taught visual culture and art history until moving to the United States in 2019. She was a visiting professor at Harvard University in 2017 and became a Senior Lecturer at the School of the Museum of Fine Arts, Tufts University in 2021. Dr. Mattos Avolese continues to collaborate with the Graduate Program in Art History and Visual Studies at UNICAMP, through a Getty Connecting Art Histories Grant. Her principal areas of interest are visual culture in Brazil, indigenous art, material culture, global art history and theory. Her recent research focuses on indigenous arts in Brazil, the imaginary of the forest and ecology. She has published widely on global exchanges in the 19th century, including scientific expeditions by explorers to Brazil, and the creation and development of art academies in South America. Additionally, she has published on connections between German art theory and 19th century visual culture in Brazil, and on the history of art history with special focus on Winckelmann and Aby Warburg. Her scholarly work has appeared in many peer review journals including, The Art Bulletin, Perspective, Res: Anthropology and Aesthetics, and the Journal of Art Historiography. Claudia Mattos Avolese was president of the Brazilian National Art History Committee (2013-2016) and is member of the directory board of the International Art History Committee (CIHA)",[],{"type":23,"text":138,"spans":11280,"direction":26},[],{"type":23,"text":11282,"spans":11283,"direction":26},"The Plataforma Keynote Lecture is generously supported by the Institute for Studies on Latin American Art (ISLAA) and is part of The ISLAA Forum: Latin American and Latinx Art Pre-Dissertation Plataforma, an annual event that provides support to CUNY Graduate Center doctoral students of Latin American and Latinx art and visual culture for the development of research projects and fosters an international network of scholars throughout the Americas.",[11284,11285],{"start":5699,"end":7959,"type":407},{"start":11286,"end":10392,"type":407},129,{"type":23,"text":138,"spans":11288,"direction":26},[],"text$42c9a369-1d14-4294-8e16-fd2201a4b885",{},{"dimensions":11292,"alt":7,"copyright":7,"url":11202,"id":11203,"edit":11293,"Square - Large":11294,"Square - Small":11298,"Horizontal":11301},{"width":11200,"height":11201},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11295,"alt":7,"copyright":7,"url":11296,"id":11203,"edit":11297},{"width":260,"height":260},"https://images.prismic.io/islaa/aKUjEaTt2nPbafe6_2025PLATAFORMA_CUNYxISLAA_11x17_FINAL2.png?auto=format,compress&rect=200,0,701,701&w=1000&h=1000",{"x":4705,"y":156,"zoom":172,"background":173},{"dimensions":11299,"alt":7,"copyright":7,"url":11207,"id":11203,"edit":11300},{"width":266,"height":266},{"x":4705,"y":156,"zoom":172,"background":173},{"dimensions":11302,"alt":7,"copyright":7,"url":11211,"id":11203,"edit":11303},{"width":266,"height":272},{"x":156,"y":179,"zoom":172,"background":173},[],[11306],{"type":23,"text":11215,"spans":11307,"direction":26},[11308],{"start":901,"end":629,"type":112},[11310],{"page":11311},{"link_type":30},[11313],{"shopify_product_handle":7},{"id":11315,"uid":11316,"url":7,"type":464,"href":11317,"tags":11318,"first_publication_date":11319,"last_publication_date":11320,"slugs":11321,"linked_documents":11323,"lang":17,"alternate_languages":11324,"data":11325},"aJDNsRAAACEAacMJ","open-house-august-2025","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aJDNsRAAACEAacMJ%22%29+%5D%5D",[11],"2025-08-04T16:21:47+0000","2025-08-13T21:15:54+0000",[11322],"islaa-open-house",[],[],{"title":11326,"series":11327,"hero_image":11330,"hero_caption":11346,"location":11351,"date":11354,"end_date":11354,"institutions":11355,"linked_material":11356,"slices":11359,"meta_description":7,"meta_image":11434,"meta_title":11326,"preview_image":11435,"preview_description":11448,"preview_image_caption":11452,"related_content":11453,"related_products":11468},"ISLAA Open House",[11328],{"series":11329},{"link_type":30},{"dimensions":11331,"alt":7,"copyright":7,"url":11333,"id":11334,"edit":11335,"Square":11336,"Horizontal":11341},{"width":11332,"height":9657},8256,"https://images.prismic.io/islaa/aJDN96Tt2nPbZ0oD_ISLAA_MagaliLara_StitchedtotheBody_InstallationView.jpg?auto=format,compress","aJDN96Tt2nPbZ0oD",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":11337,"alt":7,"copyright":7,"url":11338,"id":11334,"edit":11339},{"width":266,"height":266},"https://images.prismic.io/islaa/aJDN96Tt2nPbZ0oD_ISLAA_MagaliLara_StitchedtotheBody_InstallationView.jpg?auto=format,compress&rect=1376,0,5504,5504&w=500&h=500",{"x":11340,"y":156,"zoom":172,"background":173},1376,{"dimensions":11342,"alt":7,"copyright":7,"url":11343,"id":11334,"edit":11344},{"width":266,"height":272},"https://images.prismic.io/islaa/aJDN96Tt2nPbZ0oD_ISLAA_MagaliLara_StitchedtotheBody_InstallationView.jpg?auto=format,compress&rect=0,275,8256,4954&w=500&h=300",{"x":156,"y":11345,"zoom":172,"background":173},275,[11347],{"type":23,"text":11348,"spans":11349,"direction":26},"Installation view of Magali Lara: Stitched to the Body, Institute for Studies on Latin American Art (ISLAA), New York, 2025. Photo: George Etheredge",[11350],{"start":179,"end":405,"type":112},{"id":37,"type":38,"tags":11352,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":11353,"link_type":30,"key":497,"isBroken":47},[],{"name":45},"2025-08-14",[],[11357],{"link":11358,"link_label":7},{"link_type":503},[11360],{"variation":101,"version":102,"items":11361,"primary":11362,"id":521,"slice_type":522,"slice_label":7},[],{"text":11363},[11364,11370,11376,11379,11382,11384,11387,11391,11412,11417,11419,11427,11430],{"type":23,"text":11365,"spans":11366,"direction":26},"Thursday, August 14, 2025\n5 PM\n\nRegister\n\nExplore our current exhibitions and Research Center while learning more about our programming during this after-hours open house at the Institute for Studies on Latin American Art (ISLAA).",[11367],{"start":629,"end":135,"type":630,"data":11368},{"link_type":73,"url":11369,"target":633},"https://forms.gle/qRrMCZdNUaBQ8cW48",{"type":23,"text":11371,"spans":11372,"direction":26},"This event will include guided tours of Magali Lara: Stitched to the Body, led by Madeline Murphy Turner, Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings at the Harvard Art Museums, and Diana Dowek: Uprising in the Mirror, led by Bernardo Mosqueira, curator of the exhibition and artistic director of Solar dos Abacaxis.",[11373,11374],{"start":135,"end":4347,"type":112},{"start":11375,"end":5996,"type":112},201,{"type":23,"text":11377,"spans":11378,"direction":26},"Their walkthroughs will be followed by special open hours for our Research Center; an opportunity to view Spotlights featuring work by Lea Lublin, Lourdes Grobet, and Lotty Rosenfeld; and a reception on our ground floor. Exclusive discounts will be available on select publications in our bookshop.",[],{"type":23,"text":11380,"spans":11381,"direction":26},"Both tours will be held in English. Capacity is limited, and attendees are encouraged to register in advance by signing up online at the link above.",[],{"type":23,"text":138,"spans":11383,"direction":26},[],{"type":23,"text":11385,"spans":11386,"direction":26},"ABOUT THE SPEAKERS",[],{"type":23,"text":11388,"spans":11389,"direction":26},"Bernardo Mosqueira is a curator, writer, and researcher based in New York. He is the founder and artistic director of Solar dos Abacaxis, in Rio de Janeiro (since 2015) and director of the Prêmio FOCO ArtRio, Rio de Janeiro (since 2012). Between 2023 and 2025, Mosqueira was chief curator at the Institute for Studies on Latin American Art (ISLAA) in New York. Between 2021 and 2023, he was the ISLAA Curatorial Fellow at the New Museum. Between 2011 and 2014, he organized the performance festival Vênus Terra, and between 2011 and 2015 he was one of the curators of Galeria de Arte Ibeu. In 2020, he co-founded Fundo Colaborativo, the first emergency fund for artists and art workers in Brazil.",[11390],{"start":156,"end":2665,"type":407},{"type":23,"text":11392,"spans":11393,"direction":26},"Mosqueira's recent exhibitions include Castiel Vitorino Brasileiro: Eterno Vulnerável (co-curated with Matheus Morani, Solar dos Abacaxis, 2025); Diana Dowek: Uprising in the Mirror (co-curated with Olivia Casa, ISLAA, 2025); Luis Fernando Benedit: Invisible Labyrinths (co-curated with Laura Hakel and Olivia Casa, ISLAA, 2024); Korakrit Arunanondchai: but the words make worlds (Solar dos Abacaxis, 2024); The Precious Life of a Liquid Heart (ISLAA, 2023); Wynnie Mynerva: The Original Riot (New Museum, 2023); and Pepón Osorio: My Beating Heart/ Mi corazón latiente (co-curated with Margot Norton, New Museum, 2023). In 2021, he was part of the curatorial team for the fifth New Museum Triennial Soft Water Hard Stone. ",[11394,11395,11397,11398,11401,11404,11407,11410],{"start":3196,"end":2684,"type":112},{"start":9554,"end":11396,"type":112},181,{"start":9617,"end":2205,"type":112},{"start":11399,"end":11400,"type":112},330,379,{"start":11402,"end":11403,"type":112},408,443,{"start":11405,"end":11406,"type":112},459,492,{"start":11408,"end":11409,"type":112},517,568,{"start":11411,"end":6414,"type":112},699,{"type":23,"text":11413,"spans":11414,"direction":26},"Mosqueira holds a master's degree in curatorial studies (CCS Bard, 2021). In 2025, Mosqueira was awarded the Vilcek Foundation Prize in Curatorial Work. In 2017, he received the Premio Lorenzo Bonaldi per l’ Arte, an international award for young curators, organized by GAMeC, in Bergamo, Italy. Also in 2017, he was listed as “One of the 20 most influential curators in Latin America” by Artsy. In 2023, Cultured Magazine highlighted Mosqueira as one of the six “visionary curators” in their annual list of Young Curators. In 2023, he was named by APOLLO Magazine as “one of the 10 most inspirational thinkers living in the US” in their 40 under 40 list. ",[11415],{"start":11416,"end":3611,"type":112},405,{"type":23,"text":138,"spans":11418,"direction":26},[],{"type":23,"text":11420,"spans":11421,"direction":26},"Madeline Murphy Turner is a curator and art historian specializing in modern and contemporary art of the Americas, with a focus on gender, ecology, and their intersections with transhistorical politics. She is the Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings at the Harvard Art Museums, where she curated Drawn to Earth: Contemporary Art and Environment in the Americas and, with Mitra Abbaspour, is co-curating Edna Andrade: Imagination Is Never Static (opening August 2025).",[11422,11423,11425],{"start":156,"end":2610,"type":407},{"start":11424,"end":3610,"type":112},323,{"start":11426,"end":9164,"type":112},430,{"type":23,"text":11428,"spans":11429,"direction":26},"Turner has held positions at the Museum of Modern Art, the Boston Center for the Arts, and the Grey Art Museum, and her essays appear in exhibition catalogues, scholarly volumes, and leading journals. A committed advocate for arts education, she serves on the board of La Escuela___, an artist-run platform for radical learning and collaborative making in public spaces across the Americas.",[],{"type":23,"text":11431,"spans":11432,"direction":26},"Turner is also the co-editor of Momentum: Art and Ecology in Contemporary Latin America (The Museum of Modern Art, 2025), an award-winning anthology exploring how Latin American artists engage with their natural environments. 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We will be viewing ISLAA’s current exhibitions, Violaciones Domésticas: Feminist Constellations in 1990s Argentina and Marcia Schvartz: Power in Looking Back, and HAMBRE will be giving a short presentation on their publishing practice, followed by our usual open discussion.",[11625,11629,11630,11632,11634],{"start":11626,"end":9256,"type":630,"data":11627},98,{"link_type":73,"url":11628,"target":633},"https://hambrehambrehambre.com/",{"start":527,"end":5615,"type":112},{"start":527,"end":5615,"type":630,"data":11631},{"link_type":73,"url":10400,"target":633},{"start":11633,"end":6976,"type":112},284,{"start":11633,"end":6976,"type":630,"data":11635},{"link_type":73,"url":11636,"target":633},"https://islaa.org/exhibitions/marcia-schvartz/",{"type":23,"text":11638,"spans":11639,"direction":26},"Our reading will be an excerpt from Off-Register: Publishing Experiments by Women Artists in Latin America, 1960–1990 by Mela Dávila Freire (Center for Book Arts, 2023) and two short texts from HAMBRE’s ACCIÓN GRÁFICA URGENTE (2022). 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Clara Prat-Gay, curatorial assistant, will lead a tour of Marcia Schvartz: Power in Looking Back, followed by a tour of Violaciones Domésticas: Feminist Constellations in 1990s Argentina, led by Starasea Camara, curatorial and public engagement assistant.",[11858,11861,11862,11865,11867,11870],{"start":402,"end":8615,"type":630,"data":11859},{"link_type":73,"url":11860,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLScTUwOdGoFDKswNMC-4rzPE6utEOIFrFK81TekN3KmwzuOsNA/viewform?usp=sharing&ouid=114176435250478077959",{"start":2623,"end":10003,"type":407},{"start":11863,"end":11864,"type":112},287,325,{"start":11863,"end":11864,"type":630,"data":11866},{"link_type":73,"url":10395,"target":633},{"start":11868,"end":11869,"type":112},349,415,{"start":11868,"end":11869,"type":630,"data":11871},{"link_type":73,"url":10400,"target":633},{"type":23,"text":11873,"spans":11874,"direction":26},"Tours will be in English and held at ISLAA, located at 142 Franklin Street in Tribeca. 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Institute for Studies on Latin American Art (ISLAA) is pleased to present Violaciones Domésticas: Feminist Constellations in 1990s Argentina. This exhibition revisits the Argentine feminist art exhibition Violaciones Domésticas (Domestic Violations), featuring artworks by Alicia Herrero (b. 1954, Buenos Aires), Ana López (b. 1955, Buenos Aires), and Cristina Schiavi (b. 1954, Buenos Aires) alongside additional resources from the ISLAA Library and Archives.",[12000,12001],{"start":2516,"end":11681,"type":112},{"start":1517,"end":4358,"type":112},{"type":23,"text":12003,"spans":12004,"direction":26},"In 1994, artists Alicia Herrero, Ana López, and Cristina Schiavi mounted a collaborative exhibition that reflected on the social construction of gender and the everyday forms of oppression faced by women, challenging the societal expectations that have historically confined women’s autonomy to the private sphere. Its title, despite its allusions to violence, put forth an ethos of liberation and care by deconstructing instruments of domestic labor, from cooking to childcare.",[],{"type":23,"text":12006,"spans":12007,"direction":26},"Debuting at the alternative art space Espacio Giesso in Buenos Aires, the exhibition was foundational within the movement associated with the influential Galería del Centro Cultural Ricardo Rojas, characterized by the use of found objects, an interest in kitsch aesthetics, and the melding of the personal with the political. A year after it opened, the exhibition traveled to La Manzana de la Rivera in Asunción, Paraguay, at the invitation of artist Feliciano Centurión. This transnational presentation expanded the exhibition’s critique of the limitations of domesticity, forging queer and feminist solidarities across borders. ",[],{"type":23,"text":12009,"spans":12010,"direction":26},"More than thirty years later, this exhibition at ISLAA revisits this little-known chapter in the history of feminist art, presenting artworks from the original show alongside additional resources, including ephemera, documentation, publications, and archival materials related to other feminist art projects, such as Mitominas and Juego de damas, in Argentina. Viewed today, amid renewed and increasing threats to reproductive freedom and bodily autonomy, Violaciones Domésticas highlights the ongoing urgency of feminist struggle, reminding us how far we have come and how far we still have to go.",[12011,12014,12016],{"start":12012,"end":12013,"type":112},317,327,{"start":12015,"end":5799,"type":112},331,{"start":12017,"end":12018,"type":112},456,479,{"type":23,"text":12020,"spans":12021,"direction":26},"Violaciones Domésticas: Feminist Constellations in 1990s Argentina is curated by Olivia Casa, curator and senior manager of exhibition programs, with Starasea Camara, curatorial and public engagement assistant. 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December 11, 2025\n5 PM\n\nRegister\n\nExplore our current exhibitions and Research Center while learning more about our programming during this after-hours open house at the Institute for Studies on Latin American Art (ISLAA).",[12301],{"start":1878,"end":968,"type":630,"data":12302},{"link_type":73,"url":12303,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSe9gQVpEC5wKR5tdj7fSHlI5NxcPHmmct9AURD39slkf-XMdg/viewform?usp=sharing&ouid=114176435250478077959",{"type":23,"text":12305,"spans":12306,"direction":26},"Artists Cecilia Biagini, Alejandra Seeber, and Lucia Reissig will lead guided tours of the exhibitions Marcia Schvartz: Power in Looking Back and Violaciones Domésticas: Feminist Constellations in 1990s Argentina, in which they will reflect on and respond to the artworks on view.",[12307,12308],{"start":10772,"end":448,"type":112},{"start":9554,"end":5995,"type":112},{"type":23,"text":12310,"spans":12311,"direction":26},"Their walkthroughs will be followed by open hours for our Research Center, an opportunity to view our Spotlight presentation on Aída Carballo, and a reception on our ground floor. Exclusive discounts will be available on select publications in our bookshop.",[],{"type":23,"text":11380,"spans":12313,"direction":26},[],{"type":23,"text":138,"spans":12315,"direction":26},[],{"type":23,"text":11385,"spans":12317,"direction":26},[],{"type":23,"text":12319,"spans":12320,"direction":26},"Cecilia Biagini is an artist dedicated to experimentation, often incorporating different mediums of expression to generate a “complete” work, who has roots in South American mid-century abstraction. In March 2025, a survey exhibition of Biagini’s works and career, Enredo Simple, curated by Fernanda Laguna, was held at the Museum of Contemporary Art in Buenos Aires. In 2024, Biagini had an exhibition at Tang Teaching Museum in Saratoga Springs, New York, with Argentine artist Eugenia Crenovich. An installation of her work, which was selected by Percent for Art NYC as part of the public art program, will be installed permanently at the Nuyorican Poets Cafe in 2026.",[12321,12322],{"start":156,"end":901,"type":407},{"start":12323,"end":5947,"type":112},265,{"type":23,"text":12325,"spans":12326,"direction":26},"Biagini’s work has been included in exhibitions at the Sugar Hill Children Museum of Art and Story Telling, El Museo del Barrio, the Hunterdon Museum of Art, Ruiz Healy Art, Pentimenti Gallery, the Clemente Soto Vélez Cultural & Educational Center, the Bemis Center, the Cervantes Institute, PROA Foundation, the Museum of Fine Arts in Buenos Aires, and the Museum of Modern Art in Buenos Aires. Biagini’s work is in private, public, and corporate collections internationally, including the University of Texas at San Antonio, the New York Public Library, and The Museum of Contemporary Art, MACBA in Buenos Aires, Argentina, among others.",[],{"type":23,"text":12328,"spans":12329,"direction":26},"Lucía Reissig is an Argentinian Guatemalan artist based in New York whose work explores the memory of bodies and objects through care, domestic labor, informal economies, and food politics. Working primarily in sculpture, her practice blurs the boundaries between politics, food, labor, and affections, drawing from both individual and collective processes. Reissig trained in artist-run spaces before completing the Artist Program at the Universidad Torcuato Di Tella, Buenos Aires (2017–18). She later participated in Escuela Incierta at Lugar a Dudas in Cali, Colombia (2018) and earned her MFA in sculpture from Bard College in 2024. Her collaborative practice spans feminist archival publishing, queer food politics, community-based pedagogy, and the spiritual dimensions of domestic labor. Projects include Proyecto NUM; CaterineFulLove; Belleza y Felicidad Fiorito; and Servicio de limpieza integral, a collaboration with Bernardo Zabalaga.",[12330],{"start":156,"end":2640,"type":407},{"type":23,"text":12332,"spans":12333,"direction":26},"Recent solo exhibitions include Glossary (mimo, New York, 2025), 287.5 kilos (Móvil, Buenos Aires, 2023), and Todo estaba sucio (Duo show, Museo Municipal de Arte Moderno de Mendoza, 2022). 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In 2025, Reissig was an artist-in-residence at Mass MoCA Studios and at Millay Arts.",[12334,12335,12336,12337,12338,12340,12342,12343,12345,12348,12350,12353,12355],{"start":629,"end":135,"type":112},{"start":1906,"end":2505,"type":112},{"start":6442,"end":6436,"type":112},{"start":11642,"end":5484,"type":112},{"start":1478,"end":12339,"type":112},339,{"start":11400,"end":12341,"type":112},392,{"start":410,"end":5610,"type":112},{"start":3896,"end":12344,"type":112},489,{"start":12346,"end":12347,"type":112},505,514,{"start":12349,"end":8756,"type":112},548,{"start":12351,"end":12352,"type":112},553,571,{"start":4652,"end":12354,"type":112},618,{"start":12356,"end":12357,"type":112},641,656,{"type":23,"text":12359,"spans":12360,"direction":26},"Alejandra Seeber has been described as having \"a dialogic\" approach to painting, where intentions and chance procedures, failures, and acceptances operate together without hierarchy. She uses painting as a medium capable of absorbing other surrounding media and influences, and as a way of stretching the conventional ideas of what a picture is.",[12361],{"start":156,"end":901,"type":407},{"type":23,"text":12363,"spans":12364,"direction":26},"Born in Buenos Aires, Seeber has been living in New York City since 1999. She attended Prilidiano Pueyrredón School of Fine Arts in Argentina, the Beca Kuitca Studio Program, and Skowhegan School of Painting and Sculpture. Her work has been shown in solo and group shows internationally, including in presentations at Americas Society (2024); the Thyssen Museum (2017); the Bronx Museum of Art (2016), the Mercosul Biennial (2009); the Kunst Museum of Saint Gallen, Switzerland (2010), the Museum of Modern Art in Buenos Aires (2010), the Museo de Arte Latinoamericano de Buenos Aires (2011), and El Museo del Barrio (2003). She has had solo shows at Fundación Proa, Buenos Aires, in 2010, and galleries such as Sperone Westwater in NY, Hausler Contemporary in Germany, Switzerland, and Austria, to name a few.",[],{"type":23,"text":12366,"spans":12367,"direction":26},"Seeber's work is in the Collection Diana and Moisés Berezdivin, Puerto Rico; the Zabludowicz Collection, London; the Rolf Ricke Collection; the Eduardo Constantini Collection, Germany; Staatsliche  Graphische Sammlung, Munich; the Museo de Arte Latinoamericano de Buenos Aires; and the Museum of Modern Art in Buenos Aires, among many others.",[],{"dimensions":12369,"alt":7,"copyright":7,"url":12370,"id":12271,"edit":12371},{"width":246,"height":247},"https://images.prismic.io/islaa/aS3T6nNYClf9npw8_ISLAA_MarciaSchvartz_InstallationView_03.jpg?auto=format,compress&rect=0,213,3000,1575&w=2400&h=1260",{"x":156,"y":527,"zoom":172,"background":173},{"dimensions":12373,"alt":7,"copyright":7,"url":12270,"id":12271,"edit":12374,"Square - Large":12375,"Horizontal":12379,"Square - Small":12382},{"width":167,"height":254},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":12376,"alt":7,"copyright":7,"url":12377,"id":12271,"edit":12378},{"width":260,"height":260},"https://images.prismic.io/islaa/aS3T6nNYClf9npw8_ISLAA_MarciaSchvartz_InstallationView_03.jpg?auto=format,compress&rect=500,0,2000,2000&w=1000&h=1000",{"x":266,"y":156,"zoom":172,"background":173},{"dimensions":12380,"alt":7,"copyright":7,"url":12275,"id":12271,"edit":12381},{"width":266,"height":272},{"x":156,"y":7954,"zoom":172,"background":173},{"dimensions":12383,"alt":7,"copyright":7,"url":12279,"id":12271,"edit":12384},{"width":266,"height":266},{"x":266,"y":156,"zoom":172,"background":173},[12386],{"type":23,"text":12387,"spans":12388,"direction":26},"Join us for a special after-hours opportunity to explore our current exhibitions, learn more about our programming, and visit our Research Center on December 11.",[],[],[12391,12395],{"page":12392},{"id":3106,"type":8,"tags":12393,"lang":17,"slug":3113,"first_publication_date":3110,"last_publication_date":3111,"uid":3107,"link_type":30,"key":12394,"isBroken":47},[11],"84f37402-2da3-41ab-8884-04e3698bdb88",{"page":12396},{"id":10459,"type":8,"tags":12397,"lang":17,"slug":10461,"first_publication_date":10462,"last_publication_date":10463,"uid":10464,"link_type":30,"key":10465,"isBroken":47},[11],[12399],{"shopify_product_handle":7},{"id":12401,"uid":12402,"url":7,"type":6292,"href":12403,"tags":12404,"first_publication_date":12405,"last_publication_date":12406,"slugs":12407,"linked_documents":12409,"lang":17,"alternate_languages":12410,"data":12411},"aUq4vxQAACYAWIOn","annualreport","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22aUq4vxQAACYAWIOn%22%29+%5D%5D",[11],"2025-12-24T15:01:59+0000","2025-12-29T17:57:08+0000",[12408],"islaa-2025-year-in-review",[],[],{"title":12412,"series":12413,"hero_image":12416,"hero_image_caption":12430,"location":12431,"date":12432,"end_date":12433,"institutions":12434,"slices":12437,"meta_description":7,"meta_image":12478,"meta_title":7,"preview_image":12479,"preview_description":12492,"related_content":12496,"related_products":12499},"ISLAA 2025: Year in Review",[12414],{"series":12415},{"link_type":30},{"dimensions":12417,"alt":7,"copyright":7,"url":12418,"id":12419,"edit":12420,"Square":12421,"Horizontal":12426},{"width":3929,"height":1869},"https://images.prismic.io/islaa/aU7GsXNYClf9ops9_RECAP2025_MAIL_NOTEXT.gif?auto=format,compress","aU7GsXNYClf9ops9",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":12422,"alt":7,"copyright":7,"url":12423,"id":12419,"edit":12424},{"width":266,"height":266},"https://images.prismic.io/islaa/aU7GsXNYClf9ops9_RECAP2025_MAIL_NOTEXT.gif?auto=format,compress&rect=210,0,1080,1080&w=500&h=500",{"x":12425,"y":156,"zoom":172,"background":173},210,{"dimensions":12427,"alt":7,"copyright":7,"url":12428,"id":12419,"edit":12429},{"width":266,"height":272},"https://images.prismic.io/islaa/aU7GsXNYClf9ops9_RECAP2025_MAIL_NOTEXT.gif?auto=format,compress&rect=0,90,1500,900&w=500&h=300",{"x":156,"y":4348,"zoom":172,"background":173},[],{"link_type":30},"2025-01-01","2025-12-31",[12435],{"institution":12436},{"link_type":30},[12438],{"variation":101,"version":102,"items":12439,"primary":12440,"id":12477,"slice_type":522,"slice_label":7},[],{"text":12441},[12442,12445,12448,12451,12454,12456,12460,12464,12466,12475],{"type":23,"text":12443,"spans":12444,"direction":26},"For ISLAA, 2025 represented a year of consolidation and growth accompanied by a strengthened commitment to artist-centered exhibitions and research. Exhibitions were the core component this year. ISLAA presented six exhibitions at 142 Franklin Street, all of which were grounded in sustained curatorial and archival research. They addressed feminist practices, conceptual approaches, and political histories; were supported with publications, public programs, and guided tours; and were complemented by ISLAA’s series of Spotlight presentations.",[],{"type":23,"text":12446,"spans":12447,"direction":26},"ISLAA’s research initiatives and archives reached a new level with fifty published finding aids and more than seven hundred artist files now publicly accessible through our digital platform. Archival facilities were upgraded to enable increased processing capacity and long-term preservation.",[],{"type":23,"text":12449,"spans":12450,"direction":26},"The ISLAA Research Fellowship Program was launched, expanding academic initiatives and supporting on-site archival research. The ISLAA Artist Seminar Initiative continued in collaboration with graduate programs through a continuing partnership with Hunter College and the Center for Curatorial Studies, Bard College (CCS Bard).",[],{"type":23,"text":12452,"spans":12453,"direction":26},"Our renewed focus on exhibition publications, monographs, archival studies, and scholarly books was fully integrated into the exhibition and research calendar. All of our activities were made possible through the dedication of the ISLAA team, whose sustained efforts across curatorial, research, and collections brought these programs to fruition. We would like to thank our readers and partners for their continued engagement and support. As ISLAA looks ahead to a new year, we remain focused on advancing research-driven and artist-centered initiatives.",[],{"type":23,"text":138,"spans":12455,"direction":26},[],{"type":23,"text":12457,"spans":12458,"direction":26},"ARIEL M. AISIKS",[12459],{"start":156,"end":281,"type":407},{"type":23,"text":12461,"spans":12462,"direction":26},"Founder",[12463],{"start":156,"end":10565,"type":407},{"type":23,"text":138,"spans":12465,"direction":26},[],{"type":23,"text":12467,"spans":12468,"direction":26},"Annual Report 2025",[12469],{"start":156,"end":157,"type":630,"data":12470},{"link_type":54,"kind":56,"id":12471,"url":12472,"name":12473,"size":12474},"aUs2KHNYClf9on_l","https://islaa.cdn.prismic.io/islaa/aUs2KHNYClf9on_l_2025ISLAAANNUALREPORT.pdf","2025 ISLAA ANNUAL REPORT.pdf","15789532",{"type":23,"text":138,"spans":12476,"direction":26},[],"text$ebfc36b0-4604-422b-90ca-a6c587a3cf0e",{},{"dimensions":12480,"alt":7,"copyright":7,"url":12418,"id":12419,"edit":12481,"Horizontal":12482,"Square - Small":12485,"Square - Large":12488},{"width":3929,"height":1869},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":12483,"alt":7,"copyright":7,"url":12428,"id":12419,"edit":12484},{"width":266,"height":272},{"x":156,"y":4348,"zoom":172,"background":173},{"dimensions":12486,"alt":7,"copyright":7,"url":12423,"id":12419,"edit":12487},{"width":266,"height":266},{"x":12425,"y":156,"zoom":172,"background":173},{"dimensions":12489,"alt":7,"copyright":7,"url":12490,"id":12419,"edit":12491},{"width":260,"height":260},"https://images.prismic.io/islaa/aU7GsXNYClf9ops9_RECAP2025_MAIL_NOTEXT.gif?auto=format,compress&rect=210,0,1080,1080&w=1000&h=1000",{"x":12425,"y":156,"zoom":172,"background":173},[12493],{"type":23,"text":12494,"spans":12495,"direction":26},"Explore ISLAA 2025 Year in Review, reflecting sustained growth across exhibitions, research, archives, and scholarly collaboration.",[],[12497],{"page":12498},{"link_type":30},[12500],{"shopify_product_handle":7},{"id":12502,"uid":12503,"url":7,"type":12504,"href":12505,"tags":12506,"first_publication_date":12507,"last_publication_date":12508,"slugs":12509,"linked_documents":12511,"lang":17,"alternate_languages":12512,"data":12517},"ZnKb2REAACQAJpv6","creative-form-expansion-anna-bella-geiger","editorial","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZnKb2REAACQAJpv6%22%29+%5D%5D",[11],"2025-04-10T09:13:19+0000","2025-05-30T19:47:35+0000",[12510],"a-creative-form-of-expansion-non-objectualism-and-anna-bella-geigers-artists-notebooks-197477",[],[12513],{"id":12514,"type":12504,"lang":12515,"uid":12516},"ZrIDYxAAACMAD64a","es-mx","anna-bella-geiger-diario-diary-1974.-artists-book-",{"title":12518,"subtitle":12519,"series":12523,"regions":12532,"date":12535,"authors":12536,"artists":12545,"slices":12550,"meta_description":7,"meta_image":12959,"meta_title":7,"preview_image":12960,"preview_image_caption":12989,"preview_description":12994,"author":12998,"related_content":13001,"related_products":13051},"A Creative Form of Expansion: Non-Objectualism and Anna Bella Geiger’s Artist’s Notebooks (1974–77)",[12520],{"type":23,"text":12521,"spans":12522},"Jorge Lopera",[],[12524],{"series":12525},{"id":12526,"type":1366,"tags":12527,"lang":17,"slug":12528,"first_publication_date":12529,"last_publication_date":12530,"uid":12528,"link_type":30,"key":12531,"isBroken":47},"ZObFqxAAACIA1Ebj",[],"writer-in-residence","2023-08-24T02:51:26+0000","2023-11-03T17:12:31+0000","822135c4-85ee-48b0-9ad5-87db38cb0ad4",[12533],{"region":12534},{"link_type":30},"2025-04-10",[12537],{"author":12538},{"id":12539,"type":84,"tags":12540,"lang":17,"slug":12541,"first_publication_date":12542,"last_publication_date":12543,"uid":12541,"link_type":30,"key":12544,"isBroken":47},"ZPd2VBIAACIAcBot",[],"jorge-lopera","2023-09-05T18:41:27+0000","2023-09-07T23:40:12+0000","fb74fed8-4848-4ad5-bd9c-840c3d6874e2",[12546],{"artist":12547},{"id":2397,"type":84,"tags":12548,"lang":17,"slug":2399,"first_publication_date":2400,"last_publication_date":2401,"uid":2399,"link_type":30,"key":12549,"isBroken":47},[],"17e7aee4-4c5b-4a4f-9103-5cee96d3ed6a",[12551,12568,12609,12684,12733,12784,12823,12855,12883],{"variation":101,"version":102,"items":12552,"primary":12553,"id":12566,"slice_type":12567,"slice_label":7},[],{"text":12554},[12555,12563],{"type":23,"text":12556,"spans":12557,"direction":26},"The Writer in Residence series offers scholars the opportunity to conduct research on Latin American art through materials in the ISLAA Library and Archives.",[12558,12560],{"start":156,"end":12559,"type":112},157,{"start":156,"end":12559,"type":158,"data":12561},{"label":12562},"Callout",{"type":23,"text":12564,"spans":12565,"direction":26},"It’s 1974, and in her Rio de Janeiro studio, the artist Anna Bella Geiger produces one of her first artist’s notebooks. She faintly traces a horizontal line in pencil on the white rectangular cover and then, on top of it, she composes the word “Nearer,” transferring the Letraset letters one by one. Inside, a sequence of photocopies reproduces, page after page, the successive enlargement of an image of a blade inside another white rectangle. The set of close-ups, through which the artist gradually approaches the object, lead the reader of the notebook to the point where the edge of the blade fills the entire image of the frame diagonally, accompanied by a phrase at the bottom of the page: “Nearer to the edge” (figs. 1–3).",[],"double_column_content$58cf8842-fb72-4240-b97b-ea9ddc3310b4","double_column_content",{"variation":101,"version":102,"items":12569,"primary":12607,"id":12608,"slice_type":243,"slice_label":7},[12570,12584,12596],{"image":12571,"image_caption":12579},{"dimensions":12572,"alt":12575,"copyright":7,"url":12576,"id":12577,"edit":12578},{"width":12573,"height":12574},3150,2558,"Black-and-white cover of notebook","https://images.prismic.io/islaa/ZnKj8Zm069VX1311_1.UntitledSession12952.jpg?auto=format,compress?auto=compress,format","ZnKj8Zm069VX1311",{"x":156,"y":156,"zoom":172,"background":915},[12580],{"type":23,"text":12581,"spans":12582},"Fig. 1: Anna Bella Geiger, Nearer, 1974. Artist’s book, 22 pages, collage and graphite on paper with spiral binding; page (each): 7 1/8 × 8 7/8 in. (18 × 22.5 cm). Ed. 5/50",[12583],{"start":402,"end":2547,"type":112},{"image":12585,"image_caption":12591},{"dimensions":12586,"alt":12587,"copyright":7,"url":12588,"id":12589,"edit":12590},{"width":973,"height":3969},"Artist book with black-and-white photograph of a blade","https://images.prismic.io/islaa/ZnKi6Zm069VX1302_2.UntitledSession12940.jpg?auto=format,compress","ZnKi6Zm069VX1302",{"x":156,"y":156,"zoom":172,"background":173},[12592],{"type":23,"text":12593,"spans":12594,"direction":26},"Fig. 2: Anna Bella Geiger, Nearer, 1974. Artist’s book, 22 pages, collage and graphite on paper with spiral binding; page (each): 7 1/8 × 8 7/8 in. (18 × 22.5 cm). Ed. 5/50",[12595],{"start":402,"end":2547,"type":112},{"image":12597,"image_caption":12602},{"dimensions":12598,"alt":12587,"copyright":7,"url":12599,"id":12600,"edit":12601},{"width":973,"height":3969},"https://images.prismic.io/islaa/ZnKi8Jm069VX1303_3.UntitledSession12946.jpg?auto=format,compress","ZnKi8Jm069VX1303",{"x":156,"y":156,"zoom":172,"background":173},[12603],{"type":23,"text":12604,"spans":12605,"direction":26},"Fig. 3: Anna Bella Geiger, Nearer (Más cerca), 1974. Artist’s book, 22 pages, collage and graphite on paper with spiral binding; page (each): 7 1/8 × 8 7/8 in. (18 × 22.5 cm). Ed. 5/50",[12606],{"start":402,"end":1878,"type":112},{},"image_carousel$cebb2ed0-21af-4454-b800-8218593d49d0",{"variation":101,"version":102,"items":12610,"primary":12611,"id":12683,"slice_type":12567,"slice_label":7},[],{"text":12612},[12613,12618,12669,12675],{"type":23,"text":12614,"spans":12615,"direction":26},"Geiger’s notebooks are a means of engaging in open aesthetic exploration.",[12616],{"start":156,"end":4347,"type":158,"data":12617},{"label":160},{"type":23,"text":12619,"spans":12620,"direction":26},"In total, Geiger produced about twenty notebooks between 1974 and 1977.Diário (Diary, 1974), Manual ilustrado. Sentimentos de dor, alegria, admiração, protesto, prudência, espanto (Illustrated Manual: Feelings of Pain, Joy, Admiration, Protest, Prudence, Terror, 1974), Nearer (1974), A alimentação (Nourishment, 1975), A Little Golden Book (1975), Admissão (Admission, 1975), Burocracia (Beaurocracy, 1975), Dados (Dice, 1975), Encontros (Encounters, 1975), Fórmulas (Formulae, 1975), Os 10 mandamentos ilustrados (The Illustrated Ten Commandments, 1975), Pequena lenda brasileira (Little Brazilian Legend, 1975), História do Brasil (History of Brazil, 1975–76), Passagens (Passages, 1975–76), A cor na arte (Color in Art, 1976), Correntes culturais (Cultural Currents, 1976), Sobre a arte (On Art, 1976), O novo atlas 1 (The New Atlas 1, 1977), and O novo atlas 2 (The New Atlas 2, 1977). She called them “caderninhos.” Most of the titles on the covers were made with Letraset, and inside, she recurrently used  photocopying as a means of reproducing images. Regarding the notebooks, Geiger said at the time that they were a response to the impossibility of sustaining the artist’s relationship with the art system, and that they served as a tool to inquire about the true function of the artist in today’s society, particularly in Brazil.Anna Bella Geiger, mimeographed text, no date, Centro de Pesquisa e Documentação Museo de Arte Moderna do Rio de Janeiro. In Dária Jaremtchuk, Anna Bella Geiger: passagens conceituais (Editora C/Arte, 2007), 88. From cartographies to drawing, from the use of text to the appropriation of mechanisms of school teaching and evaluation, incorporating photoconceptualism and even the stickers that circulated popularly in newspaper stands, Geiger’s notebooks are a means of engaging in open aesthetic exploration.",[12621,12622,12625,12626,12628,12630,12632,12633,12636,12637,12639,12641,12642,12645,12648,12651,12654,12656,12659,12660,12663,12667],{"start":7145,"end":5355,"type":112},{"start":7145,"end":4671,"type":158,"data":12623},{"label":12624},"Footnote",{"start":436,"end":11683,"type":112},{"start":2205,"end":12627,"type":112},277,{"start":5787,"end":12629,"type":112},298,{"start":5607,"end":12631,"type":112},341,{"start":11868,"end":2508,"type":112},{"start":12634,"end":12635,"type":112},377,388,{"start":409,"end":11869,"type":112},{"start":12638,"end":9561,"type":112},429,{"start":11405,"end":12640,"type":112},467,{"start":9567,"end":12347,"type":112},{"start":12643,"end":12644,"type":112},557,581,{"start":12646,"end":12647,"type":112},615,634,{"start":12649,"end":12650,"type":112},664,674,{"start":12652,"end":12653,"type":112},695,709,{"start":12655,"end":8947,"type":112},731,{"start":12657,"end":12658,"type":112},777,791,{"start":8742,"end":9930,"type":112},{"start":12661,"end":12662,"type":112},851,866,{"start":12664,"end":12665,"type":158,"data":12666},1341,1552,{"label":12624},{"start":10212,"end":12668,"type":112},1524,{"type":23,"text":12670,"spans":12671,"direction":26},"In the following lines, I propose a reading of those books—although I will prefer to call them notebooks, as the artist herself called them—in dialogue with a category articulated in Latin America during the seventies: non-objectualism.The term was coined during the 1970s by Peruvian critic and theorist Juan Acha after his self-exile in Mexico and was part of a collective discussion at a regional level at the Primer Coloquio Latinoamericano sobre Arte No-objetual y Arte Urbano (First Latin American Colloquium on Non-Objectual Art and Urban Art), held at the Museo de Arte Moderno in Medellín, Colombia, of which Acha served as artistic director. This term wasn’t just a way of naming conceptual practices from Latin America. It was primarily an operative category for considering the intersections between the sociopolitical realities of the region and various forms visual thought that manifested across a wide range of cultural and artistic expressions, including geometricisms, mail art, urban interventions, walkable sculpture, environmental art, action art, handicrafts, designs, and conceptual practices.",[12672],{"start":5996,"end":12673,"type":158,"data":12674},651,{"label":12624},{"type":23,"text":12676,"spans":12677,"direction":26},"In May 1981, Brazilian critic and curator Aracy Amaral presented a lecture at the Primer Coloquio Latinoamericano sobre Arte No-objetual y Arte Urbano (First Latin American Colloquium on Non-Objectual Art and Urban Art), highlighting the main aspects of non-objectualism in Brazil. The lecture’s appendix included a chronology of the key events of this type in the country (figs 4–7). Amaral included several works and actions by Geiger, such as the pedagogical activities she carried out with Lygia Pape and Antonio Manuel in 1971 at the Museum de Arte Moderna do Rio de Janeiro during the summer course “Atividade Criatividade,” the action Circumambulatio (Circumambulation, 1972), the course “Arte, um percurso. Do objeto ao corpo,” held with Frederico Morais and Guilherme Vaz (1973), and O pão nosso de cada dia (Our Daily Bread, 1979). Although the artist’s notebooks were not included in Amaral’s chronology, likely due to their limited circulation, their material condition, conceptual proposal, and embodiment of a particular visual thought align closely with the characteristics of non-objectualism.",[12678,12681],{"start":12679,"end":12680,"type":112},642,657,{"start":9822,"end":12682,"type":112},816,"double_column_content$e3dcf8dd-125c-421d-a586-0938d115f84f",{"variation":101,"version":102,"items":12685,"primary":12731,"id":12732,"slice_type":243,"slice_label":7},[12686,12698,12709,12720],{"image":12687,"image_caption":12694},{"dimensions":12688,"alt":12690,"copyright":7,"url":12691,"id":12692,"edit":12693},{"width":6757,"height":12689},1364,"Typed text on white paper","https://images.prismic.io/islaa/ZnKjFJm069VX1309_4.CRONOLOGI%CC%81ANO_OBJETUALISMOSBRASIL_1_ARCHIVOMAMM.jpg?auto=format,compress","ZnKjFJm069VX1309",{"x":156,"y":156,"zoom":172,"background":173},[12695],{"type":23,"text":12696,"spans":12697,"direction":26},"Fig. 4: Aracy Amaral, “Tentativa de cronologia de principais eventos do não-objetualismo no Brasil,” 1981. Typewritten document. Archive of the Museo de Arte Moderno de Medellín, Colombia",[],{"image":12699,"image_caption":12705},{"dimensions":12700,"alt":12690,"copyright":7,"url":12702,"id":12703,"edit":12704},{"width":260,"height":12701},1380,"https://images.prismic.io/islaa/ZnKjG5m069VX130__5.CRONOLOGI%CC%81ANO_OBJETUALISMOSBRASIL_2_ARCHIVOMAMM.jpg?auto=format,compress","ZnKjG5m069VX130_",{"x":156,"y":156,"zoom":172,"background":173},[12706],{"type":23,"text":12707,"spans":12708,"direction":26},"Fig. 5: Aracy Amaral, “Tentativa de cronologia de principais eventos do não-objetualismo no Brasil,” 1981. Typewritten document. Archive of the Museo de Arte Moderno de Medellín, Colombia",[],{"image":12710,"image_caption":12716},{"dimensions":12711,"alt":12690,"copyright":7,"url":12713,"id":12714,"edit":12715},{"width":9931,"height":12712},1340,"https://images.prismic.io/islaa/ZnKjIZm069VX131A_6.CRONOLOGI%CC%81ANO_OBJETUALISMOSBRASIL_3_ARCHIVOMAMM.jpg?auto=format,compress","ZnKjIZm069VX131A",{"x":156,"y":156,"zoom":172,"background":173},[12717],{"type":23,"text":12718,"spans":12719,"direction":26},"Fig. 6: Aracy Amaral, “Tentativa de cronologia de principais eventos do não-objetualismo no Brasil,” 1981. Typewritten document. Archive of the Museo de Arte Moderno de Medellín, Colombia",[],{"image":12721,"image_caption":12727},{"dimensions":12722,"alt":12690,"copyright":7,"url":12724,"id":12725,"edit":12726},{"width":2575,"height":12723},1400,"https://images.prismic.io/islaa/ZnKjKJm069VX131C_7.CRONOLOGI%CC%81ANO_OBJETUALISMOSBRASIL_4_ARCHIVOMAMM.jpg?auto=format,compress","ZnKjKJm069VX131C",{"x":156,"y":156,"zoom":172,"background":173},[12728],{"type":23,"text":12729,"spans":12730,"direction":26},"Fig. 7: Aracy Amaral, “Tentativa de cronologia de principais eventos do não-objetualismo no Brasil,” 1981. Typewritten document. Archive of the Museo de Arte Moderno de Medellín, Colombia",[],{},"image_carousel$96ed42a6-82ef-46a6-a613-43d286787992",{"variation":101,"version":102,"items":12734,"primary":12736,"id":12783,"slice_type":147,"slice_label":7},[12735],{},{"text":12737},[12738,12744,12757,12766,12778],{"type":23,"text":12739,"spans":12740,"direction":26},"The notebooks emerged as a response to the erosion of the arts due to the political situation, which inevitably led to experimentation with alternative media and forms of expression that sought in the artistic object new possibilities for communication.",[12741],{"start":156,"end":12742,"type":158,"data":12743},253,{"label":160},{"type":23,"text":12745,"spans":12746,"direction":26},"Geiger’s foray into conceptual practices occurred after an intense period of rethinking prompted by her disillusionment with the traditional object of art and its modes of representation. Questions about the meaning and significance of creation, the role of the artist within the social and political conditions,These two questions in particular were present in Geiger’s artistic journey since she had her first art class with Fayga Ostrower at the age of sixteen. In Ostrower’s classes, she began to understand the figure of the artist as inherently linked to political subjectivity, a realization that would mark her work in a structural way. Geiger herself has pointed out that, since then, the question of the artist’s place in society motivated an awareness that would be decisive in her own practice. Her apprenticeship with Ostrower was crucial, especially due to the exposure it provided her to pedagogies originating from the Bauhaus and German expressionism. See “Interview between Anna Bella Geiger and Pablo León de la Barra,” in Anna Bella Geiger: Arte, trabalho e ideal, eds. Fabiana de Barros, Michel Favre, and Marcia Zoladz (Edições Sesc, 2021), 43. and explorations of less conventional formats, among other concerns, marked a singular turn in Geiger’s work from the early seventies. In this context, the notebooks emerged as a response to the erosion of the arts due to the political situation, which inevitably led to experimentation with alternative media and forms of expression that sought in the artistic object new possibilities for communication.The dismantling of the values associated with art institutions and their exhibition formats within the white cube were part of the intense reevaluation experienced by Geiger during those years, intertwined with the social commitment that artists delt compelled to assume in the face of the repressive regime. The years during which Geiger produced the notebooks were marked by precarity. It is not surprising, then, that they emerged as one of the many strategies explored by the artist to materialize ideas beyond the conventional spaces of art.",[12747,12750,12753],{"start":5788,"end":12748,"type":158,"data":12749},1166,{"label":12624},{"start":12751,"end":12752,"type":112},1042,1083,{"start":12754,"end":12755,"type":158,"data":12756},1572,2118,{"label":12624},{"type":23,"text":12758,"spans":12759,"direction":26},"In this context, the polysemic quality of Geiger’s work and her extensive use of media during the 1970s (engraving, pedagogical actions, maps, video, photomontage, postcards, etc.) finds in the notebooks an inescapable point of articulation. The notebooks bring together a series of concerns and ideas ranging from cartographic representation to Brazil’s colonial and historical circumstances, from philosophy to linguistics, and from the art system to pedagogy. Functioning as a sort of antenna, the contents of the notebook perceptively capture the events of the present moment, always drawing a dialectical parallel between social reality and the evolving landscape of art. Moreover, they testify to a particular way of experiencing art, perhaps as a vital necessity—in the words of the critic Mário Pedrosa—where Geiger channels her personal experience in relation to the art system and the country’s conditions.Zanna Gilbert, “Os livros de artista de Anna Bella Geiger,” in Anna Bella Geiger. Brasil nativo/Brasil alienígena Adriano Pedrosa and Tomás Toledo, eds. (MASP, Edições Sesc, 2019), 51.",[12760,12763],{"start":12761,"end":11200,"type":158,"data":12762},916,{"label":12624},{"start":12764,"end":12765,"type":112},979,1029,{"type":23,"text":12767,"spans":12768,"direction":26},"For Amaral, the proposals that distinguished non-objectualism in Latin America from the neo-avant-garde of the main artistic centers in the United States and Europe, were those in which, through the integration of creativity was integrated, political connotation emerged in a broad sense (both directly and through metaphor).Aracy Amaral, “Aspectos del no-objetualismo en Brasil,” in Memorias del Primer Coloquio Latinoamericano sobre Arte No-objetual y Arte Urbano (Fondo Editorial Museo de Antioquia and Museo de Arte Moderno de Medellín, 2011), 149. According to Amaral, “by manifesting that ‘political’ intentionality, [the artists of non-objectualism] reveal their commitment to their here-and-now, establishing a divergence between their proposals and those coming from a purely cosmopolitan information.”Amaral, “Aspectos del no-objetualismo en Brasil,” 150. It’s worth noting, as Amaral pointed out in her lecture at the Colloquium on Non-Objectual Art, that the circulation of works by international artists of the neo-avant-garde was relatively limited in Brazil in the early 1970s. References to actions, interventions, and performances were gleaned from magazines featuring images that were often in black and white and did not reflect the vitality that those works expressed. Diamela Eltit corroborates this when she refers to a similar situation in Chile during the military dictatorship of Augusto Pinochet, suggesting that the military dictatorships created a sort of enclosure, resulting in a non-derivative, and rather simultaneous, production by Latin American artists and collectives. In this regard, Geiger recognizes that by the early seventies, there was limited awareness of what was happening in the international neo-avant-garde, and that processes like those experienced by artists like herself or Lygia Pape were parallel to, rather than directly influenced by, international trends. Geiger’s notebooks coincide with this statement.",[12769,12771,12774],{"start":11864,"end":6427,"type":158,"data":12770},{"label":12624},{"start":12772,"end":12773,"type":112},384,465,{"start":12775,"end":12776,"type":158,"data":12777},811,1911,{"label":12624},{"type":23,"text":12779,"spans":12780,"direction":26},"For example, the feeling of being on the razor’s edge present in Nearer recurs in Diário (Diary, 1974). In it, Geiger selects an illustration from a children’s booklet designed to teach them to read a clock. The notebook begins with the original sentence that appears at the top edge of the booklet’s page, pointing to an instruction: “The clock is striking the hours. This clock is striking ...,” to which the artist responds, as if completing the lesson of the booklet: “the time when the artist fell asleep.” The image is repeated six times, with the clock always empty, without its hands, as if this absence marks an eternal present, an instant, a definitive here and now. On the seventh page, the answer changes, and the artist writes, still by hand and in pencil: “The time when the artist should wake up.” Finally, the eighth and last page has a question as its answer: “At what time?”, with the clock still empty, as if that awakening, as if the artist’s consciousness about his social function, remains completely uncertain in the face of the urgent political conditions of the country (fig. 10).",[12781,12782],{"start":1906,"end":7145,"type":112},{"start":7192,"end":7675,"type":112},"single_column_content$e7de63e7-ee3e-4b92-9c7f-6a650d2b1deb",{"variation":101,"version":102,"items":12785,"primary":12821,"id":12822,"slice_type":243,"slice_label":7},[12786,12798,12810],{"image":12787,"image_caption":12793},{"dimensions":12788,"alt":12575,"copyright":7,"url":12790,"id":12791,"edit":12792},{"width":12573,"height":12789},3122,"https://images.prismic.io/islaa/ZnKj_Jm069VX1316_8.GEIG.0024Front.jpg?auto=format,compress?auto=compress,format","ZnKj_Jm069VX1316",{"x":156,"y":156,"zoom":172,"background":915},[12794],{"type":23,"text":12795,"spans":12796,"direction":26},"Fig. 8: Anna Bella Geiger, Diário (Diary), 1974. Artist’s book, 20 pages, collage and graphite on paper with spiral binding; page (each): 5 7/8 × 5 7/8 in. (15 × 15 cm). Ed. 5/25",[12797],{"start":402,"end":1878,"type":112},{"image":12799,"image_caption":12805},{"dimensions":12800,"alt":12801,"copyright":7,"url":12802,"id":12803,"edit":12804},{"width":973,"height":6128},"Artist book with drawing of a clock with typed and hand-written text","https://images.prismic.io/islaa/ZnKjO5m069VX131E_9.UntitledSession13037.jpg?auto=format,compress?auto=compress,format","ZnKjO5m069VX131E",{"x":156,"y":156,"zoom":172,"background":915},[12806],{"type":23,"text":12807,"spans":12808,"direction":26},"Fig. 9: Anna Bella Geiger, Diário (Diary), 1974. Artist’s book, 20 pages, collage and graphite on paper with spiral binding; page (each): 5 7/8 × 5 7/8 in. (15 × 15 cm). Ed. 5/25",[12809],{"start":402,"end":1878,"type":112},{"image":12811,"image_caption":12816},{"dimensions":12812,"alt":12801,"copyright":7,"url":12813,"id":12814,"edit":12815},{"width":973,"height":6128},"https://images.prismic.io/islaa/ZnKjQZm069VX131F_10.UntitledSession13048.jpg?auto=format,compress?auto=compress,format","ZnKjQZm069VX131F",{"x":156,"y":156,"zoom":172,"background":915},[12817],{"type":23,"text":12818,"spans":12819},"Fig. 10: Anna Bella Geiger, Diário (Diary), 1974. Artist’s book, 20 pages, collage and graphite on paper with spiral binding; page (each): 5 7/8 × 5 7/8 in. (15 × 15 cm). Ed. 5/25",[12820],{"start":3256,"end":8615,"type":112},{},"image_carousel$b0a0872b-c362-4fda-97d6-933758a384e1",{"variation":101,"version":102,"items":12824,"primary":12826,"id":12854,"slice_type":147,"slice_label":7},[12825],{},{"text":12827},[12828,12850],{"type":23,"text":12829,"spans":12830,"direction":26},"The contents of each notebook generally follow a narrative sequence that interweaves images and text. Dária Jaremtchuk notes that Geiger’s use of photocopying as a printing and reproduction system for most of the images was more of a technical resource rather than a conceptual exploration of Xerox photocopying, a medium commonly used at the time by other artists such as Hudinilson Jr. or Paulo Bruscky. The notebooks were produced manually, and show a decidedly handcrafted character in their production.Jaremtchuk, Anna Bella Geiger: passagens conceituais (Editora C/Arte, 2007), 88–89. The binding, in most of them, is the same one that was used for photocopied books—a type of acetate spiral binding—with the exception of the notebooks Manual ilustrado (Illustrated Mannual, 1974), Fórmulas (Formulae, 1975), A Little Golden Book (1975), and Pequena lenda brasileira (Little Brazilian Legend, 1975), which have a half-cloth binding with a straight spine, and Encontros (Encounters, 1975), which is made from a telephone book.",[12831,12835,12838,12841,12844,12845,12847],{"start":12832,"end":12833,"type":158,"data":12834},507,590,{"label":12624},{"start":12836,"end":12837,"type":112},519,559,{"start":12839,"end":12840,"type":112},742,758,{"start":12842,"end":12843,"type":112},788,796,{"start":11536,"end":10775,"type":112},{"start":8768,"end":12846,"type":112},872,{"start":12848,"end":12849,"type":112},965,974,{"type":23,"text":12851,"spans":12852,"direction":26},"It is precisely in Encontros that the contacts of the art world are intertwined with personal and emotional bonds. There, Geiger appears alongside other artists—both Brazilian and international—and with members of her own family. The alphabetical order of the phone book is used to locate each of the characters by last name: Acconci Vito, under A; Beuys, Joseph, under B; Clark, Lygia, under C … Each name is accompanied by the year of the encounter and a photocopied photograph, pasted onto the page, showing Geiger with the respective person. In some cases, such as the pages dedicated to Jim Dine, Marcel Duchamp, Roy Lichtenstein, Henri Matisse, and Barnett Newman, the artist employs photomontage to turn the encounters into fictional narratives.",[12853],{"start":157,"end":3256,"type":112},"single_column_content$a0f83bb6-5a62-4b13-9eaf-17b7f574f3fe",{"variation":101,"version":102,"items":12856,"primary":12881,"id":12882,"slice_type":243,"slice_label":7},[12857,12869],{"image":12858,"image_caption":12864},{"dimensions":12859,"alt":12860,"copyright":7,"url":12861,"id":12862,"edit":12863},{"width":973,"height":12573},"Artist book with black-and-white photograph collage of two women","https://images.prismic.io/islaa/ZnKjSZm069VX131G_11.UntitledSession13057.jpg?auto=format,compress?auto=compress,format","ZnKjSZm069VX131G",{"x":156,"y":156,"zoom":172,"background":915},[12865],{"type":23,"text":12866,"spans":12867},"Fig. 11: Anna Bella Geiger, Encontros (Encounters), 1975. Artist’s book, 76 pages, collage and graphite on paper with spiral binding; page (each): 6 1/2 × 4 1/4 in. (16.5 × 10.8 cm). Ed. 5/25",[12868],{"start":3256,"end":952,"type":112},{"image":12870,"image_caption":12876},{"dimensions":12871,"alt":12872,"copyright":7,"url":12873,"id":12874,"edit":12875},{"width":973,"height":12573},"Artist book with black-and-white photograph collage of a family","https://images.prismic.io/islaa/ZnKjb5m069VX131S_12.UntitledSession13089.jpg?auto=format,compress?auto=compress,format","ZnKjb5m069VX131S",{"x":156,"y":156,"zoom":172,"background":915},[12877],{"type":23,"text":12878,"spans":12879},"Fig. 12: Anna Bella Geiger, Encontros (Encounters), 1975. Artist’s book, 76 pages, collage and graphite on paper with spiral binding; page (each): 6 1/2 × 4 1/4 in. (16.5 × 10.8 cm). Ed. 5/25",[12880],{"start":3256,"end":952,"type":112},{},"image_carousel$d90d4774-e33e-4840-8ac8-a7a2f0086e4c",{"variation":101,"version":102,"items":12884,"primary":12910,"id":12958,"slice_type":12567,"slice_label":7},[12885,12897],{"image":12886,"image_caption":12892},{"dimensions":12887,"alt":12888,"copyright":7,"url":12889,"id":12890,"edit":12891},{"width":973,"height":12573},"Typed text within a spiral-bound notebook","https://images.prismic.io/islaa/ZnKjbpm069VX131R_13.art14019.jpg?auto=format,compress","ZnKjbpm069VX131R",{"x":156,"y":156,"zoom":172,"background":173},[12893],{"type":23,"text":12894,"spans":12895,"direction":26},"Fig. 13: Anna Bella Geiger, Admissão, 1975. Artist’s book, 20 pages, collage and graphite on paper with spiral binding; page (each): 8 3/8 × 5 7/8 in. (21.4 × 15 cm).Ed. 7/25",[12896],{"start":3256,"end":983,"type":112},{"image":12898,"image_caption":12905},{"dimensions":12899,"alt":12901,"copyright":7,"url":12902,"id":12903,"edit":12904},{"width":12573,"height":12900},2363,"Typed text over drawing of a map within spiral-bound notebook","https://images.prismic.io/islaa/ZnKkAZm069VX1317_14.art14024.jpg?auto=format,compress","ZnKkAZm069VX1317",{"x":156,"y":156,"zoom":172,"background":173},[12906],{"type":23,"text":12907,"spans":12908,"direction":26},"Fig. 14: Anna Bella Geiger, Admissão (Admisión), 1975. Artist’s book, 20 pages, collage and pencil on paper with spiral binding; page (each): 8 3/8 × 5 7/8 in. (21.4 × 15 cm). Ed. 7/25",[12909],{"start":3256,"end":2623,"type":112},{"text":12911},[12912,12919,12923,12936,12945,12948,12955],{"type":23,"text":12913,"spans":12914,"direction":26},"The main contents in the notebooks are the artistic and cultural system, on the one hand, and Brazilian history, on the other. In both cases, the critical and ironic force lies in what appear to be responses to the civilizing program of the military dictatorship. Thus, faced with the triumphalist myths of the country’s progress and growth that official propaganda promoted through different communication strategies and advertising campaigns, Geiger recurrently responded with satire, parody, and humor.Jaremtchuk, Anna Bella Geiger: passagens conceituais, 90.",[12915,12918],{"start":12346,"end":12916,"type":158,"data":12917},562,{"label":12624},{"start":11408,"end":12643,"type":112},{"type":23,"text":12920,"spans":12921,"direction":26},"In Admissão (Admission, 1975), the artist takes a school exam on the geography of Brazil that includes questions about the country’s size relative to other continents and countries, its location within South America, its proximity to the equator, the links between fauna and the economy in the Amazon, and demographic issues, always with an implicit ideology that suggests a certain air of progress and similarity to First World countries, attributed to Brazil’s vast territory. To the exam questions Geiger adds, on a typewriter, other questions and statements about the art system: Which countries have art infrastructures inferior to Brazil’s? Who are the main producing artists? Can art be considered a staple for Brazilians? This strategy, which subtly inserts content—since it is difficult to identify them at first glance—places the content in a sort of camouflage or counterinformation.",[12922],{"start":9776,"end":9313,"type":112},{"type":23,"text":12924,"spans":12925,"direction":26},"Two maps made by the artist also appear amid the exam. The first shows Brazil’s territory in white surrounded by a typewritten text about the country’s colonial history, while the second preserves a hydrographic map overlaid with the text of the previous map. It is worth noting at this point that in 1969, Geiger began to seek a geographical system of representation, which initiated a type of cartographic thinking that, as the artist herself has mentioned, led to the production of different types of maps, marking a transition from geopolitics to geopoetics. This type of cartographic representation also extended to works such as Correntes culturais (Cultural Currents, 1976), in which Geiger seems to engage with the postulates of dependency theory and the notion of the Third World, which by then was a central theme within the intellectual debates of the cultural field and the social sciences. Ideas such as those of the avant-garde and underdevelopment—and the consequent response by different artists in Latin America—territory as a signifier of a specific geography, or criticisms of Mercator’s projection, were issues that appeared both in the notebooks’ maps and in other screen prints of the time. In this sense, Bernardo Mosqueira points out that the development of counter-cartographies was also one of the main features of these works.Bernardo Mosqueira, “Anna Bella Geiger, circa mmxix: a ponta afiada do eixo compasso,” in Anna Bella Geiger. Brasil nativo/Brasil alienígena, eds. Pedrosa and Toledo, 48.",[12926,12929,12933],{"start":12927,"end":12928,"type":112},635,654,{"start":12930,"end":12931,"type":158,"data":12932},1353,1523,{"label":12624},{"start":12934,"end":12935,"type":112},1443,1493,{"type":23,"text":12937,"spans":12938,"direction":26},"How to think about Geiger’s artist’s notebooks through a notion such as that of non-objectualism? This question prompts me to revisit one of the ideas proposed by Amaral in 1981. In addition to bodily proposals often linked to popular festivities or esotericism, the Brazilian critic highlighted as part of non-objectualism what she called “actions stimulating creativity,” which included the summer course “Atividade Criatividade” conducted by Geiger, Lygia Pape, and Antonio Manuel at the Museu de Arte Moderna do Rio de Janeiro in 1971.It should be noted that Geiger was also part of the Cultural Council of the Museu de Arte Moderna do Rio de Janeiro in 1970 and, together with Frederico Morais, was responsible for determining the teaching of art at the museum. While Morais was in charge of the Experimental Unit, Geiger was responsible for the Cultural Integration area. See Pablo León de la Barra’s interview with Geiger in Anna Bella Geiger. Arte, trabalho e ideal, De Barros, Favre, and Zoladz, 63.",[12939,12942],{"start":9149,"end":12940,"type":158,"data":12941},1008,{"label":12624},{"start":12943,"end":12944,"type":112},932,973,{"type":23,"text":12946,"spans":12947,"direction":26},"This allows us to establish a link between non-objectualism and pedagogy as an immediate antecedent to the notebooks. The course served as an homage to the critic Mário Pedrosa, who was in exile in Chile at the time. It sought to demystify the museum space through objects and stimuli proposed to students, with the goal of opening artistic practice to the urban space. Held Monday to Friday, the course, according to Geiger, centered on the notion of the “non-material,” that is, in avoiding the use of conventional art materials to produce an artistic experience. Students were to bring materials they found on the way from their homes to the museum to experiment with during the sessions. The concept of creativity sought there by Geiger, Pape, and Manuel, in tune with Pedrosa’s ideas, ultimately unleashed a sense of creative freedom with materials beyond the confines of the museum.",[],{"type":23,"text":12949,"spans":12950,"direction":26},"Many of the strategies used in the “caderninhos” are closely linked to pedagogy. According to Bernardo Mosqueira, this link, which the artist had been cultivating since the 1960s, extends to the notebooks, in an act in which teaching and artistic production go hand in hand through experimentation with materials, mediums, and ideas. The similarity of Geiger’s notebooks with school notebooks is indicative of the presence of pedagogy, both in terms of material support and of the ideological and conceptual approaches embodied in their contents. The expressive structure, which juxtatposes words and images, seeks to dismantle, in a sort of counter-pedagogy, the educational postulates of the military regime. How to teach national history, the question of identities, and the meaning of the national? The bias that the dictatorship had placed on the teaching of these issues led Geiger, who saw these forms of education firsthand in her own children, to experiment in her notebooks with a type of visuality that tried to dissociate itself from these norms. These strategies, according to Mosqueira, “parodied or appropriated booklets, school exams, and children’s books. In these notebooks, we can perceive a tension between the desire to transmit knowledge and communication about political issues forbidden at the time and, at the same time, a desire for codification and stealth.”Mosqueira, “Anna Bella Geiger, circa mmxix,” 48.",[12951],{"start":12952,"end":12953,"type":158,"data":12954},1385,1433,{"label":12624},{"type":23,"text":12956,"spans":12957,"direction":26},"Amaral pointed out that non-objectual experiences assumed various dimensions during the 1970s: some opted for a playful-anarchic quality, others were purely playful, some were pedagogical, others satiricized conventional art; some, at times, addressed different forms of urban intervention, and others assumed a practice of a conceptual character (in the latter category, Amaral included Geiger’s works, in addition to those of Waltércio Caldas and Cildo Meireles, among others). The singular point of intersection that can be seen in the notebooks between the appropriation of school teaching methods and elements of visual culture, the questioning of ideological and conceptual issues, institutional criticism, and experimentation on the artistic object, generates a singular, rich, and heterogeneous visuality that situates Anna Bella Geiger’s production in distinctly Latin American coordinates. This visual thinking leads to the central postulate of non-objectualisms: to serve as forms of creative expansion, embedding within the artistic object a liberating potential in the face of the socioaesthetic reality of Latin American countries.",[],"double_column_content$c5d05e61-0b7b-42e8-873f-5b1de3198ded",{},{"dimensions":12961,"alt":12575,"copyright":7,"url":12790,"id":12791,"edit":12962,"Square - Large":12963,"Square - Small":12969,"Vertical - Narrow":12975,"Horizontal ":12983},{"width":12573,"height":12789},{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":12964,"alt":7,"copyright":7,"url":12965,"id":12791,"edit":12966},{"width":260,"height":260},"https://images.prismic.io/islaa/ZnKj_Jm069VX1316_8.GEIG.0024Front.jpg?auto=format,compress?auto=compress,format&rect=12,0,3122,3122&w=1000&h=1000",{"x":12967,"y":156,"zoom":12968,"background":915},-4,0.3203074951953876,{"dimensions":12970,"alt":7,"copyright":7,"url":12971,"id":12791,"edit":12972},{"width":266,"height":266},"https://images.prismic.io/islaa/ZnKj_Jm069VX1316_8.GEIG.0024Front.jpg?auto=format,compress?auto=compress,format&rect=12,0,3122,3122&w=500&h=500",{"x":12973,"y":156,"zoom":12974,"background":915},-2,0.1601537475976938,{"dimensions":12976,"alt":7,"copyright":7,"url":12979,"id":12791,"edit":12980},{"width":12977,"height":12978},215,350,"https://images.prismic.io/islaa/ZnKj_Jm069VX1316_8.GEIG.0024Front.jpg?auto=format,compress?auto=compress,format&rect=615,0,1918,3122&w=215&h=350",{"x":12981,"y":156,"zoom":12982,"background":915},-69,0.11210762331838565,{"dimensions":12984,"alt":7,"copyright":7,"url":12985,"id":12791,"edit":12986},{"width":266,"height":272},"https://images.prismic.io/islaa/ZnKj_Jm069VX1316_8.GEIG.0024Front.jpg?auto=format,compress?auto=compress,format&rect=0,617,3150,1890&w=500&h=300",{"x":156,"y":12987,"zoom":12988,"background":915},-98,0.15873015873015872,[12990],{"type":23,"text":12991,"spans":12992},"Anna Bella Geiger, Diário (Diary), 1974. Artist’s book, 20 pages, collage and graphite on paper with spiral binding; page (each): 5 7/8 × 5 7/8 in. (15 × 15 cm). 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Photo by Olympia Shannon",[],{"link_type":30},"2025-07-15",[13091],{"institution":13092},{"link_type":30},[13094],{"variation":101,"version":102,"items":13095,"primary":13096,"id":13132,"slice_type":522,"slice_label":7},[],{"text":13097},[13098,13103,13106,13109,13113,13117,13121,13125,13129],{"type":23,"text":13099,"spans":13100,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) is thrilled to announce the five fellows selected for the inaugural ISLAA Research Fellowship Program. Launched in early 2025, the program supports emerging scholars whose work engages with understudied artists, collectives, archives, and exhibition histories in modern and contemporary Latin American art. ",[13101],{"start":13102,"end":12559,"type":407},124,{"type":23,"text":13104,"spans":13105,"direction":26},"We were honored to receive a large number of outstanding applications from doctoral candidates across the United States, reflecting the depth, diversity, and vibrancy of current research in the field. The selection process was highly competitive, and we are grateful to all who applied and shared their thoughtful proposals. ",[],{"type":23,"text":13107,"spans":13108,"direction":26},"The 2025–2026 fellows will each conduct short-term research residencies at ISLAA’s offices in New York City, where they will engage with our archival collections, library resources, and research community. We warmly congratulate the following scholars: ",[],{"type":23,"text":13110,"spans":13111,"direction":26},"Lucía Neirotti (PhD candidate, University of Chicago) \n Research focus: Centro de Arte y Comunicación (CAYC) \n Fellowship period: Early Fall 2025 ",[13112],{"start":156,"end":1039,"type":407},{"type":23,"text":13114,"spans":13115,"direction":26},"Sofía Silva (PhD candidate, Stanford University) \n Research focus: Feliciano Centurión \n Fellowship period: Late Fall 2025 ",[13116],{"start":156,"end":9313,"type":407},{"type":23,"text":13118,"spans":13119,"direction":26},"Catalina Cherñavvsky Sequeira (PhD candidate, University of Texas at Austin) \n Research focus: Galería Liloray, Instituto Di Tella, Josefina Geiger, and CAYC \n Fellowship period: Early Spring 2026 ",[13120],{"start":156,"end":1013,"type":407},{"type":23,"text":13122,"spans":13123,"direction":26},"Oriele Benavides (PhD candidate, Princeton University) \n Research focus: Movimiento Arte Porno \n Fellowship period: Late Spring 2026 ",[13124],{"start":156,"end":901,"type":407},{"type":23,"text":13126,"spans":13127,"direction":26},"Bruno Franco (PhD candidate, Johns Hopkins University) \n Research focus: Movimiento Arte Porno and Feliciano Centurión \n Fellowship period: Summer 2026 ",[13128],{"start":156,"end":967,"type":407},{"type":23,"text":13130,"spans":13131,"direction":26},"We look forward to welcoming these exceptional researchers to ISLAA and to supporting their work as they delve into the archival and artistic histories that continue to shape Latin American art. ",[],"text$8ea8cc65-fe9e-4fc0-aafb-7bd0849d3908",{},{"dimensions":13135,"alt":7,"copyright":7,"url":13072,"id":13073,"edit":13136,"Square - Large":13137,"Square - Small":13141,"Horizontal":13144},{"width":1935,"height":13071},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":13138,"alt":7,"copyright":7,"url":13139,"id":13073,"edit":13140},{"width":260,"height":260},"https://images.prismic.io/islaa/Z_loP-vxEdbNO8ie_231101_ISLAA_002.jpg?auto=format,compress&rect=901,0,4198,4198&w=1000&h=1000",{"x":13079,"y":156,"zoom":172,"background":173},{"dimensions":13142,"alt":7,"copyright":7,"url":13077,"id":13073,"edit":13143},{"width":266,"height":266},{"x":13079,"y":156,"zoom":172,"background":173},{"dimensions":13145,"alt":7,"copyright":7,"url":13082,"id":13073,"edit":13146},{"width":266,"height":272},{"x":156,"y":5616,"zoom":172,"background":173},[13148],{"type":23,"text":13086,"spans":13149,"direction":26},[],[13151],{"page":13152},{"link_type":30},[13154],{"shopify_product_handle":7},{"id":13004,"uid":13009,"url":7,"type":12504,"href":13156,"tags":13157,"first_publication_date":13007,"last_publication_date":13008,"slugs":13158,"linked_documents":13159,"lang":17,"alternate_languages":13160,"data":13161},"https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Zk3LfRIAACAATIre%22%29+%5D%5D",[11],[13006],[],[],{"title":13162,"subtitle":13163,"series":13167,"regions":13172,"date":12535,"authors":13175,"artists":13184,"slices":13189,"meta_description":7,"meta_image":13583,"meta_title":7,"preview_image":13584,"preview_image_caption":13612,"preview_description":13619,"author":13623,"related_content":13626,"related_products":13651},"Transparency and Feminist Revision in Anna Bella Geiger’s Artist’s Books",[13164],{"type":23,"text":13165,"spans":13166},"Maggie Borowitz",[],[13168],{"series":13169},{"id":12526,"type":1366,"tags":13170,"lang":17,"slug":12528,"first_publication_date":12529,"last_publication_date":12530,"uid":12528,"link_type":30,"key":13171,"isBroken":47},[],"50822c29-0e7e-4242-8de0-e26cfc8f7b2f",[13173],{"region":13174},{"link_type":30},[13176],{"author":13177},{"id":13178,"type":84,"tags":13179,"lang":17,"slug":13180,"first_publication_date":13181,"last_publication_date":13182,"uid":13180,"link_type":30,"key":13183,"isBroken":47},"ZPd2YxIAACIAcBp5",[],"maggie-borowitz","2023-09-05T18:41:42+0000","2023-09-07T23:39:37+0000","6c2f0062-ff2d-480a-9d26-d3dc2e91f2da",[13185],{"artist":13186},{"id":2397,"type":84,"tags":13187,"lang":17,"slug":2399,"first_publication_date":2400,"last_publication_date":2401,"uid":2399,"link_type":30,"key":13188,"isBroken":47},[],"c109973c-fb86-42fb-8f13-d1d06380e7d8",[13190,13258,13310,13350,13382,13461,13502,13548],{"variation":101,"version":102,"items":13191,"primary":13205,"id":12566,"slice_type":12567,"slice_label":7},[13192],{"image":13193,"image_caption":13200},{"dimensions":13194,"alt":13196,"copyright":7,"url":13197,"id":13198,"edit":13199},{"width":973,"height":13195},2940,"Artist book with collage of fruit bowl on tracing paper","https://images.prismic.io/islaa/Zk85vSol0Zci9Y6V_1.UntitledSession13255.jpg?auto=format,compress","Zk85vSol0Zci9Y6V",{"x":156,"y":156,"zoom":172,"background":173},[13201],{"type":23,"text":13202,"spans":13203,"direction":26},"Fig. 1: Anna Bella Geiger, Os 10 mandamentos ilustrados (The Illustrated 10 Commandments), 1975. Collage and graphite on paper with spiral binding; overall (closed): 11 ¼ × 8 ¾ in. (28.6 × 22.2 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13204],{"start":402,"end":3635,"type":112},{"text":13206},[13207,13212,13242],{"type":23,"text":12556,"spans":13208,"direction":26},[13209,13210],{"start":156,"end":12559,"type":112},{"start":156,"end":12559,"type":158,"data":13211},{"label":12562},{"type":23,"text":13213,"spans":13214,"direction":26},"“Feminism in Brazil … was a luxury we could not afford,” Brazilian artist Anna Bella Geiger has said.Anna Bella Geiger and Ric Bower, “I Abandoned the Things that I Loved the Most,” CCQ Magazine 15 (Summer 2018): 139. She has also suggested that “rather than a feminist demand,” her work produced during the Brazilian military regime (1964–85) was “simply the work of a Brazilian artist living in that difficult moment.”Dorothée Dupuis, “Anna Bella Geiger,” Terremoto 1 (February 16, 2015), https://terremoto.mx/revista/anna-bella-geiger/. My translation. Known for her trailblazing video art, conceptual investigations of Brazilian identity, and attempts to grapple with Indigenous history, Geiger has repeatedly resisted feminist reclamations of her work. This resistance was common among her generation of women artists in Brazil.Claudia Calirman, Dissident Practices: Brazilian Women Artists, 1960s–2020s (Duke University Press, 2023), 14–16. Living under a dictatorship that, in 1968, outlawed any form of political opposition to the regime, artists such as Geiger saw women’s issues as extravagant in the face of an urgent human rights crisis. Additionally, given the US government’s backing of the dictatorship, the feminist movement’s associations with US cultural imperialism further intensified their aversion.Calirman, Dissident Practices, 29. Nevertheless, as art historian Claudia Calirman has recently argued, artists of Geiger’s generation still faced societal constraints due to their gender, and they used their art to combat those limitations.Calirman, 15, 3. Geiger’s artwork from the mid-1970s offers a cogent example of this phenomenon. While it certainly provides a fascinating record of her experiences as an artist in Brazil living under an authoritarian military regime, it documents those experiences from the perspective of an artist who happened to be a woman and a mother.",[13215,13218,13221,13224,13227,13230,13232,13236,13238],{"start":489,"end":13216,"type":158,"data":13217},217,{"label":12624},{"start":13219,"end":13220,"type":112},182,195,{"start":3894,"end":13222,"type":158,"data":13223},555,{"label":12624},{"start":13225,"end":13226,"type":112},458,468,{"start":9065,"end":13228,"type":158,"data":13229},946,{"label":12624},{"start":12661,"end":13231,"type":112},909,{"start":13233,"end":13234,"type":158,"data":13235},1320,1354,{"label":12624},{"start":6528,"end":13237,"type":112},1351,{"start":13239,"end":13240,"type":158,"data":13241},1561,1577,{"label":12624},{"type":23,"text":13243,"spans":13244,"direction":26},"In particular, her artist’s books from the period reveal how Geiger articulated the challenges of her daily realities, reflecting her struggle to balance the different types of labor for which she was responsible. The feminist concept of the “double shift”—where women return home from a full day of paid work only to find themselves responsible for a full evening’s worth of unpaid, domestic labor—was a key issue that women in other parts of the world were mobilizing around.For an example of the discussion around this issue in the US in the mid-1970s, see “A Wages for Housework Pamphlet,” The Activist 15, no. 1–2 (Spring 1975): 6. By 1983, Brazilian feminists were also addressing the issue of the “dupla jornada.” Leila de Andrade Linhares Barsted, “Legalização e descriminalização do aborto no Brasil: 10 anos de luta feminista,” Estudos Feministas (1992): 119. Elsewhere in Latin America, women artists had introduced the notion of a “triple shift”: waged labor, unpaid domestic labor, and artistic labor.Mónica Mayer, “Las exposiciones de mujeres artistas: Del vigor de los 70 y 80 al vergonzoso retroceso de finales de milenio,” Triple Jornada 31 (March 5, 2001): 6. Though Geiger did not explicitly label it as such, she contended with the burden of the “triple shift”; she supported her family financially by teaching art and language classes, she bore primary caretaking responsibilities for her four children, and in between, she made art.",[13245,13248,13250,13253,13256],{"start":3896,"end":13246,"type":158,"data":13247},869,{"label":12624},{"start":11487,"end":13249,"type":112},607,{"start":13251,"end":13252,"type":112},838,856,{"start":10424,"end":13254,"type":158,"data":13255},1177,{"label":12624},{"start":13257,"end":10677,"type":112},1140,{"variation":101,"version":102,"items":13259,"primary":13273,"id":12683,"slice_type":12567,"slice_label":7},[13260],{"image":13261,"image_caption":13267},{"dimensions":13262,"alt":13263,"copyright":7,"url":13264,"id":13265,"edit":13266},{"width":973,"height":13195},"Artist book with collage of blanc-and-white photographs","https://images.prismic.io/islaa/Zk85ziol0Zci9Y6a_2.UntitledSession13256.jpg?auto=format,compress","Zk85ziol0Zci9Y6a",{"x":156,"y":156,"zoom":172,"background":173},[13268],{"type":23,"text":13269,"spans":13270,"direction":26},"Fig. 2: Anna Bella Geiger, Os 10 mandamentos ilustrados (The Illustrated Ten Commandments), 1975. Collage and graphite on paper with spiral binding; overall (closed): 11 ¼ × 8 ¾ in. (28.6 × 22.2 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13271,13272],{"start":402,"end":3635,"type":112},{"start":4348,"end":436,"type":112},{"text":13274},[13275,13280,13283,13288,13291,13294,13307],{"type":23,"text":13276,"spans":13277,"direction":26},"Geiger’s artwork from the mid-1970s provides a fascinating record of her experiences as an artist in Brazil living under an authoritarian military regime, while also documenting those experiences from the perspective of an artist who happened to be a woman and a mother.",[13278],{"start":156,"end":2205,"type":158,"data":13279},{"label":160},{"type":23,"text":13281,"spans":13282,"direction":26},"Geiger’s artist’s books from the mid-1970s employ aspects specific to the book medium to succinctly enunciate the physical and psychological toll of being a woman, a mother, and an artist under dictatorship. T",[],{"type":23,"text":13284,"spans":13285,"direction":26},"hese works are closely connected to other coeval aspects of her artistic production, including the video works and",[13286],{"start":156,"end":3597,"type":158,"data":13287},{"label":160},{"type":23,"text":13289,"spans":13290,"direction":26},"conceptual endeavors for which she is best known. Therefore, an examination of her artist’s books provides a framework for considering how—despite her repeated assertions that this was not her intention—her works can contribute to our understanding of an emerging feminist consciousness in Brazil.",[],{"type":23,"text":13292,"spans":13293,"direction":26},"The format of the book allowed Geiger to create narratives that unfold across the bound pages and to experiment playfully with the way viewers intimately interact with these objects. Dashed off photocopies combine with carefully collaged found images and detailed handmade elements that she meticulously crafted for each edition, which typically consisted of twenty-five or fifty copies. As the viewer flips through the pages, recurring motifs and layered images slowly evolve and transform: some images gradually shrink or expand through Geiger’s experimentation with the photocopier, while others are progressively stripped down as layers of tracing paper or plastic transparencies are peeled back.",[],{"type":23,"text":13295,"spans":13296,"direction":26},"I find the latter case particularly intriguing. Images seem to melt away as the viewer turns diaphanous pages and what lies beneath comes into sudden focus. In Geiger’s book Os 10 mandamentos ilustrados (The Illustrated Ten Commandments, 1975), sheets of transparent tracing paper alternate with opaque, photocopied compositions. As art historian Zanna Gilbert has pointed out, when the pages are turned, the Indigenous figures printed on the tracing paper repeatedly “‘disappear’ from the colonial European scenes” beneath them.Zanna Gilbert, “Anna Bella Geiger’s Artist’s Books,” in Anna Bella Geiger: Native Brazil / Alien Brazil, eds. Adriano Pedrosa and Tomás Toledo (Museu de Arte de São Paulo Assis Chateaubriand, 2020), 58. Moreover, as the artist herself has suggested, the material fragility of the transparent pages underscores the precarious status of the figures that are pictured.Anna Bella Geiger, email to the author, August 24, 2023. Geiger’s use of transparency performs the erasure of Indigenous Brazilian experience and, more darkly, the violence inflicted upon the Indigenous populations from the colonial era to the present day. Further, it implicates the viewer, making them complicit in these processes.",[13297,13298,13301,13303],{"start":1474,"end":10392,"type":112},{"start":13299,"end":12655,"type":158,"data":13300},529,{"label":12624},{"start":13302,"end":12647,"type":112},585,{"start":13304,"end":13305,"type":158,"data":13306},894,950,{"label":12624},{"type":23,"text":13308,"spans":13309,"direction":26},"I propose, in turn, that in Geiger’s books, transparency also becomes a revisionist strategy: it serves as a means of reclaiming experiences that have been overlooked, ignored, or actively erased, including her own experiences as a woman living amidst a patriarchal, authoritarian regime in the mid-1970s. ",[],{"variation":101,"version":102,"items":13311,"primary":13313,"id":12783,"slice_type":147,"slice_label":7},[13312],{},{"text":13314},[13315,13320,13328],{"type":23,"text":13316,"spans":13317,"direction":26},"Geiger’s artist’s books from the mid-1970s employ aspects specific to the book medium to succinctly enunciate the physical and psychological toll of being a woman, a mother, and an artist under dictatorship. An examination of her artist’s books provides a framework for considering how her works can contribute to our understanding of an emerging feminist consciousness in Brazil.",[13318],{"start":156,"end":11796,"type":158,"data":13319},{"label":160},{"type":23,"text":13321,"spans":13322,"direction":26},"Consider the pages that Gilbert points to in Os 10 mandamentos ilustrados. On the transparent overlay (fig. 1), one of Geiger’s altered Ten Commandments reads: “Thou shalt labor six days upon thy work, and rest on the seventh day.”Translated in Gilbert, “Artist’s Books,” 59n15. Just above the text, a small, rectangular photograph is captioned “KAMAIURA Indian woman preparing achiote dye.” In the photograph, a woman sits beside two large pots of red dye, looking away from the camera at the two small children standing next to her. Behind this overlay are three images photocopied from US magazines: men in shirtsleeves in a classroom, a little boy solving a math problem at a chalkboard, and Albert Einstein standing behind a desk piled high with books. The juxtaposition is stark: Indigenous tradition rubs up against imperial vision, with the woman’s work appearing incommensurable with the men’s intellectual labor. As the viewer turns the page (fig. 2), the three Indigenous figures vanish from the scenes behind them. However, they do not vanish entirely. Rather, we encounter them from a new perspective where the image is reversed and the text is rendered illegible. Furthermore, Geiger’s use of spiral bindings during this period allows for unique manipulation; while the pages are bound in a particular order, they can also be easily isolated, a possibility prohibited by typical codex-style bindings. Geiger’s use of transparency simultaneously unveils the erasure of Indigenous bodies, traditions, and labor—a process ongoing in her contemporary moment—and points toward a path of recognizing, reinserting, and even dignifying that labor.",[13323,13324,13326],{"start":145,"end":4347,"type":112},{"start":13325,"end":7232,"type":112},74,{"start":4358,"end":5947,"type":158,"data":13327},{"label":12624},{"type":23,"text":13329,"spans":13330,"direction":26},"In other artist’s books from the 1970s, transparency offers a similar set of possibilities, but more directly in relation to the artist’s personal struggle to balance waged, unwaged, and artistic labor. This struggle took on new urgency in the late 1960s, when the military regime issued a series of “institutional acts” through which they gradually took away personal liberties and increasingly arrested, tortured, and disappeared Brazilian citizens. Geiger, a mother of four young children, had already struggled to find time and space for her art practice prior to the military coup.Dupuis, “Anna Bella Geiger.” After the authoritarian regime seized power, new fears arose. Geiger’s husband, a Marxist geographer, was arrested and imprisoned for several days. In the aftermath, the artist grappled with a new fear for survival: “I was terrified, and completely taken up with how I should feed my four children,” she explains.Geiger and Bower, “I Abandoned the Things that I Loved the Most,” 132. Despite the thriving national economy ushered in by the repressive regime, political dissidents like Geiger and her husband feared for their families’ livelihood and wellbeing. These fears, which later inspired Geiger’s conceptual photomontage O pão nosso de cada dia (Our Daily Bread, 1978), are also apparent in her artist’s book A alimentação (Nourishment, 1975).Sarah Poppel, “All Creative Being: Interview with Anna Bella Geiger,” Artl@s Bulletin 3, no. 2 (Fall 2014): 105.",[13331,13334,13337,13340,13343,13347],{"start":13332,"end":7968,"type":158,"data":13333},586,{"label":12624},{"start":13335,"end":10211,"type":158,"data":13336},928,{"label":12624},{"start":13338,"end":13339,"type":112},1243,1267,{"start":13341,"end":13342,"type":112},1331,1345,{"start":13344,"end":13345,"type":158,"data":13346},1365,1477,{"label":12624},{"start":13348,"end":13349,"type":112},1435,1451,{"variation":101,"version":102,"items":13351,"primary":13381,"id":12822,"slice_type":243,"slice_label":7},[13352,13368],{"image":13353,"image_caption":13360},{"dimensions":13354,"alt":13356,"copyright":7,"url":13357,"id":13358,"edit":13359},{"width":973,"height":13355},1575,"Artist book with bananas still life collage on tracing paper","https://images.prismic.io/islaa/Zk85tiol0Zci9Y6S_3.art14109.jpg?auto=format,compress?auto=compress,format","Zk85tiol0Zci9Y6S",{"x":156,"y":156,"zoom":172,"background":915},[13361],{"type":23,"text":13362,"spans":13363,"direction":26},"Fig. 3: Anna Bella Geiger, A alimentação (Nourishment), 1975. Collage and graphite on paper with spiral binding; overall (closed): 8 ¾ × 13 1/8 in. (22.3 × 33.4 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13364,13365,13366],{"start":402,"end":2666,"type":112},{"start":406,"end":3635,"type":112},{"start":13367,"end":11771,"type":112},130,{"image":13369,"image_caption":13375},{"dimensions":13370,"alt":13371,"copyright":7,"url":13372,"id":13373,"edit":13374},{"width":973,"height":13355},"Artist book with pineapple still life collage","https://images.prismic.io/islaa/Zk85eyol0Zci9Y6J_4.art14112.jpg?auto=format,compress?auto=compress,format","Zk85eyol0Zci9Y6J",{"x":156,"y":156,"zoom":172,"background":915},[13376],{"type":23,"text":13377,"spans":13378,"direction":26},"Fig. 4: Anna Bella Geiger, A alimentação (Nourishment), 1975. Collage and graphite on paper with spiral binding; overall (closed): 8 ¾ × 13 1/8 in. (22.3 × 33.4 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13379,13380],{"start":402,"end":2666,"type":112},{"start":13367,"end":11771,"type":112},{},{"variation":101,"version":102,"items":13383,"primary":13398,"id":13460,"slice_type":12567,"slice_label":7},[13384],{"image":13385,"image_caption":13393},{"dimensions":13386,"alt":13389,"copyright":7,"url":13390,"id":13391,"edit":13392},{"width":13387,"height":13388},1902,1570,"Still-life oil on canvas painting with exhuberant fruits","https://images.prismic.io/islaa/Zk85eSol0Zci9Y6I_5.589AFC.jpg?auto=format,compress","Zk85eSol0Zci9Y6I",{"x":156,"y":156,"zoom":172,"background":173},[13394],{"type":23,"text":13395,"spans":13396,"direction":26},"Fig. 5: Agostinho da Mota, Mamão e melanica (Papaya and Watermelon), 1860. Oil on canvas, 21 × 25 ½ in. (53.4 × 65 cm). Museu Nacional de Belas Artes/Ibram, Rio de Janeiro. Photo: Fernando Chaves",[13397],{"start":402,"end":2683,"type":112},{"text":13399},[13400,13405,13409,13414,13433,13447],{"type":23,"text":13401,"spans":13402,"direction":26},"Geiger asserts a different kind of association between women and still life—one that is powerful, affective, and urgent rather than trivial and conventional.",[13403],{"start":156,"end":12559,"type":158,"data":13404},{"label":160},{"type":23,"text":13406,"spans":13407,"direction":26},"In A alimentação, Geiger combines nutritional diagrams and definitions with charts that track regional food production, hunger, and malnourishment. In conversation with her commentary on the challenges she faced as a mother during this period, her inclusion of photocopied charts documenting food shortages in Latin America and cases of anorexia is haunting. But haunting in its own way is a series of layered sheets of tracing paper that feature colorful, hand-labeled images of various foods: poultry, bananas, papayas, oranges, pineapples, and watermelons (fig. 3). Behind these transparent sheets is a set of six sentences, likely culled from a Hebrew student workbook, first printed in German and Portuguese and followed by pages in the original Hebrew (fig. 4). The first sentence reads, “The kids sit and eat.” “Mother gives Sararle milk,” and “Mother gives Berele milk,” read subsequent sentences. The viewer peels back image after image of food to reveal these deadpan sentences statements that suggest the assumedly natural role of a mother as nourisher and provider.",[13408],{"start":9776,"end":901,"type":112},{"type":23,"text":13410,"spans":13411,"direction":26},"Stacked together, the pages form a new type of still life. Rather than a careful arrangement designed to display artistic virtuosity, luxury, and the bounty of the tropics, Geiger reinscribes the same luscious fruits that populated nineteenth-century Brazilian still lifes (fig. 5) as literal sustenance for her offspring. They are not meant to be admired, but rather to be consumed and metabolized. With each turn of the page, another fruit is stripped away until nothing remains. In contrast to the gentle nudge of memento mori long associated with still life, Geiger’s rendition prompts the viewer to experience her anxieties about providing for her children day in and day out under dictatorship. What happens, Geiger seems to worry, when the food runs out?",[13412],{"start":11408,"end":13413,"type":112},530,{"type":23,"text":13415,"spans":13416,"direction":26},"Still life was long viewed as the most acceptable form of imagery for women to make.Norman Bryson, Looking at the Overlooked: Four Essays on Still Life Painting (Harvard University Press, 1990), 174. Historically, it was deemed suitable for women because it was “intellectually undemanding” and ranked at the very bottom in the hierarchy of the fine arts.Rozsika Parker and Griselda Pollock, Old Mistresses: Women, Art, and Ideology (Pantheon Books, 1981), 58; Bryson, Looking at the Overlooked, 175. Even in the twentieth century, still life remained the safest subject for women, including those who participated in the Brazilian avant-garde. The celebrated Brazilian modernist painter Anita Malfatti retreated to still life when her avant-garde experiments shocked local audiences, and it was while they were both studying still life that she first met fellow modernist painter Tarsila do Amaral.Gillian Sneed, “Anita Malfatti and Tarsila do Amaral: Gender, ‘Brasilidade’ and the Modernist Landscape,” Woman’s Art Journal 34, no. 1 (Spring/Summer 2013): 31. In her transformation of the genre through the transparent layers of her artist’s book, Geiger asserts a different kind of association between women and still life—one that is powerful, affective, and urgent rather than trivial and conventional.",[13417,13419,13420,13422,13424,13426,13430],{"start":7247,"end":10594,"type":158,"data":13418},{"label":12624},{"start":2517,"end":7147,"type":112},{"start":8520,"end":266,"type":158,"data":13421},{"label":12624},{"start":12341,"end":13423,"type":112},433,{"start":13425,"end":6424,"type":112},469,{"start":13427,"end":13428,"type":158,"data":13429},899,1060,{"label":12624},{"start":13431,"end":13432,"type":112},1005,1025,{"type":23,"text":13434,"spans":13435,"direction":26},"In her book Passagens (Passages, 1975–76) Geiger takes up a different genre, also long associated with the production of women artists: the self-portrait. Once again, she transforms the genre through transparency, making space for nuanced articulations of women’s experience. In Passagens, the artist repeatedly pictures herself in a long black coat as she moves through the New York subway system, seated in a train car and walking along a train platform. This book is related to her video work of the same title, Passagens I (1974), in which she filmed herself climbing a series of staircases in Rio de Janeiro. She has explained that in this video, “I sacrificed my body, testing its endurance … I look tired—and I actually was. The video is a loop of me climbing the stairs, but in order to film it I had to repeatedly climb them.”Poppel, “All Creative Being,” 105. During the dictatorship, Geiger began teaching English and Portuguese to earn enough money to support her family. She explains, “I thought about teaching art at the university, but it was really far away, and with the kids, I wouldn’t have had any time for myself. I was exhausted.”Dupuis, “Anna Bella Geiger.” Her description of the self-inflicted physical exhaustion she performed for the camera resonates with her accounts of the unavoidable exhaustion of the “triple shift.”",[13436,13437,13439,13442,13444],{"start":967,"end":2610,"type":112},{"start":5615,"end":13438,"type":112},290,{"start":13440,"end":13441,"type":112},515,527,{"start":10775,"end":13246,"type":158,"data":13443},{"label":12624},{"start":269,"end":13445,"type":158,"data":13446},1180,{"label":12624},{"type":23,"text":13448,"spans":13449,"direction":26},"Art historian Gabriela Aceves Sepúlveda argues that Geiger’s video traces a “progressive narrative from the intimate to the public.”Gabriela Aceves Sepúlveda, “La portapak en Latinoamérica: The Gendering of Video Art in Argentina, Brazil, Chile, Colombia, and Mexico,” in Encounters in Video Art in Latin America, eds. Elena Shtromberg and Glenn Phillips (Getty Research Institute, 2023), 122. The artist records herself first climbing an interior staircase, her heels echoing in the stairwell; followed by an exterior staircase accompanied by the sounds of children playing, people chatting, and a dog barking; and finally, the broad staircase of a public, government-operated building with the sounds of honking horns and traffic speeding by in the background. For Aceves Sepúlveda, this gradually more public trajectory can be understood in relation to “the slow progression of women’s fight to gain more visibility in the public sphere.”Aceves Sepúlveda, 122. As she repeats her plodding, solitary climb, Geiger refuses to allow her physical and psychic exhaustion to remain relegated to the private realm.",[13450,13453,13456],{"start":9899,"end":13451,"type":158,"data":13452},393,{"label":12624},{"start":13454,"end":13455,"type":112},272,314,{"start":13457,"end":13458,"type":158,"data":13459},941,963,{"label":12624},"double_column_content$7b8ef671-104d-4e9e-b264-b29cbd9813b6",{"variation":101,"version":102,"items":13462,"primary":13500,"id":13501,"slice_type":243,"slice_label":7},[13463,13475,13488],{"image":13464,"image_caption":13470},{"dimensions":13465,"alt":13466,"copyright":7,"url":13467,"id":13468,"edit":13469},{"width":973,"height":13355},"Artist book with collage of black-and-white photograph and pencil drawing of a grid","https://images.prismic.io/islaa/Zk86Byol0Zci9Y67_6.UntitledSession13124.jpg?auto=format,compress","Zk86Byol0Zci9Y67",{"x":156,"y":156,"zoom":172,"background":173},[13471],{"type":23,"text":13472,"spans":13473,"direction":26},"Fig. 6: Anna Bella Geiger, Passagens (Passages), 1975–76. Collage and graphite on paper with spiral binding; overall (closed): 4 ¾ × 9 in. (12 × 23 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13474],{"start":402,"end":983,"type":112},{"image":13476,"image_caption":13482},{"dimensions":13477,"alt":13478,"copyright":7,"url":13479,"id":13480,"edit":13481},{"width":973,"height":13355},"Artist book with pencil drawings of lines","https://images.prismic.io/islaa/Zk86Eiol0Zci9Y6__7.UntitledSession13126.jpg?auto=format,compress","Zk86Eiol0Zci9Y6_",{"x":156,"y":156,"zoom":172,"background":173},[13483],{"type":23,"text":13484,"spans":13485,"direction":26},"Fig. 7: Anna Bella Geiger, Passagens (Passages), 1975–76. Collage and graphite on paper with spiral binding; overall (closed): 4 ¾ × 9 in. (12 × 23 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13486,13487],{"start":402,"end":2623,"type":112},{"start":937,"end":6697,"type":112},{"image":13489,"image_caption":13495},{"dimensions":13490,"alt":13491,"copyright":7,"url":13492,"id":13493,"edit":13494},{"width":973,"height":13355},"Artist book with displayable fold-out of black-and-white photograph","https://images.prismic.io/islaa/Zk86Hyol0Zci9Y7G_8.UntitledSession13135.jpg?auto=format,compress?auto=compress,format","Zk86Hyol0Zci9Y7G",{"x":156,"y":156,"zoom":172,"background":915},[13496],{"type":23,"text":13497,"spans":13498,"direction":26},"Fig. 8: Anna Bella Geiger, Passagens (Passages), 1975–76. Collage and graphite on paper with spiral binding; overall (closed): 4 ¾ × 9 in. (12 × 23 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13499],{"start":402,"end":2623,"type":112},{},"image_carousel$62fa7997-bef2-4a8b-b858-4d81baaa14ba",{"variation":101,"version":102,"items":13503,"primary":13516,"id":13547,"slice_type":12567,"slice_label":7},[13504],{"image":13505,"image_caption":13511},{"dimensions":13506,"alt":13507,"copyright":7,"url":13508,"id":13509,"edit":13510},{"width":973,"height":13355},"Artist book with black-and-white photograph collage","https://images.prismic.io/islaa/Zk86Liol0Zci9Y7K_9.UntitledSession13130.jpg?auto=format,compress","Zk86Liol0Zci9Y7K",{"x":156,"y":156,"zoom":172,"background":173},[13512],{"type":23,"text":13513,"spans":13514,"direction":26},"Fig. 9: Anna Bella Geiger, Passagens (Passages), 1975–76. Collage and graphite on paper with spiral binding; overall (closed): 4 ¾ × 9 in. (12 × 23 cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13515],{"start":402,"end":2623,"type":112},{"text":13517},[13518,13523,13541],{"type":23,"text":13519,"spans":13520,"direction":26},"Geiger's experiments with the artist’s book format allowed her to articulate both the physical and psychological experience of juggling her multiple labors.",[13521],{"start":156,"end":4689,"type":158,"data":13522},{"label":160},{"type":23,"text":13524,"spans":13525,"direction":26},"In her artist’s book made the following year, she shows herself moving through a different set of urban spaces. Photocopies of photographs are printed at varying scales and across experimental forms, including foldouts and clear plastic transparencies. While these photographs were likely taken when Geiger briefly visited New York in early 1975, they harken back to 1969, when she lived in the city while her husband was working at Columbia University.Roberto Pontual, “Anna Bella Geiger: A experiência do atual,” Jornal do Brasil, Caderno B, May 24, 1975; Poppel, “All Creative Being,” 105. After only a few months, Geiger returned to Rio with their four children, exhausted by the struggle to take care of them in New York.Poppel, 105. As in Os 10 mandamentos ilustrados, the incorporation of transparent materials in Passagens seems to enact erasure. Over the course of the first four pages of the book, Geiger’s image gradually disappears. Two superimposed pairs of portraits of the artist seated in an empty train car are reduced to a single pair, then to a smattering of outlines on graph paper, and finally to an empty grid (figs. 6–7). The following pages feature a set of foldouts recording her movement along an almost empty train platform (fig. 8). The repetition of the image grid at varying scales evokes the same plodding exhaustion articulated in her video, while the high contrast of the repeatedly photocopied photograph gradually degrades Geiger’s image until she is reduced to little more than a silhouette—a ghost of herself. These images seem to summon up her own words: “I wouldn’t have had any time for myself. I was exhausted.”Dupuis, “Anna Bella Geiger.” Her experiments with the artist’s book format allowed her to articulate both the physical and psychological experience of juggling her multiple labors.",[13526,13528,13529,13532,13535,13538],{"start":1486,"end":6430,"type":158,"data":13527},{"label":12624},{"start":13440,"end":849,"type":112},{"start":5102,"end":13530,"type":158,"data":13531},738,{"label":12624},{"start":13533,"end":13534,"type":112},745,773,{"start":13536,"end":13537,"type":112},821,831,{"start":13539,"end":3983,"type":158,"data":13540},1652,{"label":12624},{"type":23,"text":13542,"spans":13543,"direction":26},"But here, transparency also offers the possibility of reclamation. The final page of the book is the same as the first: a clear plastic transparency featuring a double portrait of Geiger. Bound directly in front of the book’s black back cover, the image is almost invisible—he precarity of women’s agency in the public sphere spun across a glossy, gossamer surface (fig. 9). When the page is turned, Geiger’s image comes back into focus. Laid atop the repeated images of her standing on the platform in profile, this frontal view of her looking out at the viewer allows her to reclaim her identity. The pages of Passagens map a self-portrait that is viewed from both within and without. She presents her likeness—her visage, her silhouette. But she also traces a psychic experience. The pages narrate what it feels like to be on the verge of losing oneself and refusing to give in.",[13544],{"start":13545,"end":13546,"type":112},612,622,"double_column_content$07881e0b-e8c0-4a39-8671-cf012f3547f0",{"variation":101,"version":102,"items":13549,"primary":13562,"id":13582,"slice_type":12567,"slice_label":7},[13550],{"image":13551,"image_caption":13557},{"dimensions":13552,"alt":13553,"copyright":7,"url":13554,"id":13555,"edit":13556},{"width":973,"height":6128},"Artist book with lined paper and typed and hand-written text","https://images.prismic.io/islaa/Zk86Piol0Zci9Y7U_10.UntitledSession13037.jpg?auto=format,compress","Zk86Piol0Zci9Y7U",{"x":156,"y":156,"zoom":172,"background":173},[13558],{"type":23,"text":13559,"spans":13560,"direction":26},"Fig. 10: Anna Bella Geiger, Diário (Diary), 1974. Collage and graphite on paper with spiral binding; overall (closed): 5 7/8 × 5 7/8 in. (15 × 15cm). Institute for Studies on Latin American Art (ISLAA), New York. © Anna Bella Geiger",[13561],{"start":3256,"end":8615,"type":112},{"text":13563},[13564,13569,13579],{"type":23,"text":13565,"spans":13566,"direction":26},"Geiger experimented with the unique capacities of the artist’s book, relying on photocopied images, transparent supports, and spiral bindings to tell stories that renegotiate established artistic genres and narratives. Her use of transparency suggests that women’s place in society is not fixed but rather malleable.",[13567],{"start":156,"end":9161,"type":158,"data":13568},{"label":160},{"type":23,"text":13570,"spans":13571,"direction":26},"In her 1974 book Diário (Diary), Geiger photocopied a worksheet designed for children learning to tell time. Leaving the clock face blank, she wrote in pencil above the diagram, “The time that the artist went to sleep” (fig. 10). This same image and accompanying text appear on six consecutive pages. If she wants to make art on top of her other responsibilities, sleep is what she must sacrifice. Wryly, she narrates the grim realities of her daily life. Perhaps these realities are not specific to women (as suggested by her use of the masculine form “o artista”). Perhaps this book is “simply the work of a Brazilian artist,” not a gendered commentary, as Geiger would have us believe.Dupuis. But when viewed in combination with her other artist’s books from this period, Diário offers a succinct articulation of what it meant to be a woman, a mother, and an artist in Brazil under dictatorship. The oppressive weight of expectations and responsibilities, fears and anxieties, could not be separated from her art production.",[13572,13573,13574,13577],{"start":2680,"end":628,"type":112},{"start":629,"end":2547,"type":112},{"start":13575,"end":12652,"type":158,"data":13576},688,{"label":12624},{"start":6026,"end":13578,"type":112},782,{"type":23,"text":13580,"spans":13581,"direction":26},"Yet, even amidst the burden of the “triple shift,” Geiger found a way to disrupt the status quo. She experimented with the unique capacities of the artist’s book, relying on photocopied images, transparent supports, and spiral bindings to tell stories that renegotiate established artistic genres and narratives. Her use of transparency suggests that women’s place in society is not fixed but rather malleable. Geiger’s artist’s books propose a series of subtle strategies that, whether consciously or not, could facilitate feminist intervention in 1970s Brazil.",[],"double_column_content$0c5b0551-a3d2-4405-b1ff-51b16409569b",{},{"dimensions":13585,"alt":13586,"copyright":7,"url":13357,"id":13358,"edit":13587,"Square - Large":13588,"Square - Small":13594,"Vertical - Narrow":13600,"Horizontal ":13606},{"width":973,"height":13355},"Artist book composed of spiral bound notebook with the drawing of a banana and a collage of magazine cut-outs including images of fruits and hens.",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":13589,"alt":7,"copyright":7,"url":13590,"id":13358,"edit":13591},{"width":260,"height":260},"https://images.prismic.io/islaa/Zk85tiol0Zci9Y6S_3.art14109.jpg?auto=format,compress?auto=compress,format&rect=1312,0,1575,1575&w=1000&h=1000",{"x":13592,"y":156,"zoom":13593,"background":915},-833,0.6349206349206349,{"dimensions":13595,"alt":7,"copyright":7,"url":13596,"id":13358,"edit":13597},{"width":266,"height":266},"https://images.prismic.io/islaa/Zk85tiol0Zci9Y6S_3.art14109.jpg?auto=format,compress?auto=compress,format&rect=1314,0,1575,1575&w=500&h=500",{"x":13598,"y":156,"zoom":13599,"background":915},-417,0.31746031746031744,{"dimensions":13601,"alt":7,"copyright":7,"url":13602,"id":13358,"edit":13603},{"width":12977,"height":12978},"https://images.prismic.io/islaa/Zk85tiol0Zci9Y6S_3.art14109.jpg?auto=format,compress?auto=compress,format&rect=1616,0,968,1575&w=215&h=350",{"x":13604,"y":156,"zoom":13605,"background":915},-359,0.2222222222222222,{"dimensions":13607,"alt":7,"copyright":7,"url":13608,"id":13358,"edit":13609},{"width":266,"height":272},"https://images.prismic.io/islaa/Zk85tiol0Zci9Y6S_3.art14109.jpg?auto=format,compress?auto=compress,format&rect=788,0,2625,1575&w=500&h=300",{"x":13610,"y":156,"zoom":13611,"background":915},-150,0.19047619047619047,[13613],{"type":23,"text":13614,"spans":13615},"Anna Bella Geiger, A alimentação (Nourishment), 1975. Collage and pencil on paper with spiral binding; overall (closed): 8 ¾ × 13 1/8 in. (22.3 × 33.4 cm). 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His textiles incorporated Indigenous Paraguayan embroidery techniques, and his later practice engaged with that of his contemporaries associated with the Centro Cultural Ricardo Rojas in Buenos Aires, including Ana López and Marcelo Pombo.",[13800],{"start":144,"end":629,"type":407},{"type":23,"text":13802,"spans":13803,"direction":26},"Organized in conjunction with the exhibition Ñande Róga: The Feliciano Centurión Archival Collection at the Institute for Studies on Latin American Art (ISLAA), this panel will explore the traditions, social contexts, and artistic circles that inspired Centurión’s work. It will feature presentations by artist K.ari.n Schneider and curator Rosario Güiraldes and a conversation moderated by curator Aimé Iglesias Lukin. The program will conclude with a reception at ISLAA.",[13804],{"start":145,"end":7954,"type":112},{"type":23,"text":13806,"spans":13807,"direction":26},"Schneider will discuss Centurión’s early work and reflect on her experience engaging with the Feliciano Centurión Papers in the ISLAA Library and Archives. During her presentation, Güiraldes will speak about the context of the Centro Cultural Ricardo Rojas in the 1990s and queer artist communities in Buenos Aires.",[],{"type":23,"text":13809,"spans":13810,"direction":26},"This event is open to the public and will take place in person at ISLAA, located at 50 East 78th Street in New York. Capacity is limited, and attendees are required to register online in advance. If you have signed up but are no longer able to attend, please email islaa.exhibitions@islaa.org so that others may register.",[13811],{"start":12323,"end":9781,"type":630,"data":13812},{"link_type":73,"url":13813,"target":633},"mailto:islaa.exhibitions@islaa.org",{"type":23,"text":13815,"spans":13816,"direction":26},"This panel is presented on the occasion of Ñande Róga: The Feliciano Centurión Archival Collection, curated by Eduardo Andres Alfonso, Angelica Arbelaez, María Carri, Rachel Eboh, Laura Hakel, Kyle Herrington, and Guy Weltchek, at ISLAA. This exhibition originally opened in December 2021 at the Hessel Museum of Art in Annandale-on-Hudson, NY, and was the culminating project of a graduate seminar led by K.ari.n Schneider at the Center for Curatorial Studies, Bard College, as part of the ISLAA Research Seminar Initiative.",[13817],{"start":2683,"end":11626,"type":112},"text$0ae9c55f-2bf3-4507-a00d-f81a5ffb5ce5",{},{"dimensions":13821,"alt":7,"copyright":7,"url":13824,"id":13825,"edit":13826},{"width":13822,"height":13823},2718,1271,"https://images.prismic.io/islaa/8d3e18b4-755c-43fa-ae4b-869f4851d64e_Social-Fabrics-2_2023-07-14-200408_ytlv.png?auto=compress,format","ZR8TqRIAACIAwCTS",{"x":156,"y":156,"zoom":172,"background":173},[13828],{"type":23,"text":13829,"spans":13830},"Organized in conjunction with Ñande Róga: The Feliciano Centurión Archival Collection at ISLAA, this panel will examine the cultural traditions, social contexts, and artist networks that inspired Centurión’s work.",[13831],{"start":144,"end":7313,"type":112},[],[13834],{"page":13835},{"link_type":30},[13837],{"shopify_product_handle":7},{"id":13839,"uid":13840,"url":7,"type":464,"href":13841,"tags":13842,"first_publication_date":13843,"last_publication_date":13844,"slugs":13845,"linked_documents":13846,"lang":17,"alternate_languages":13847,"data":13848},"Z4LB0hEAACMAz_PU","perspectives-on-trans-liberation-today","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Z4LB0hEAACMAz_PU%22%29+%5D%5D",[11],"2025-01-20T23:11:03+0000","2025-04-16T14:58:27+0000",[13840],[],[],{"title":13849,"series":13850,"hero_image":13853,"hero_caption":13870,"location":13871,"date":13874,"end_date":13874,"institutions":13875,"linked_material":13876,"slices":13879,"meta_description":7,"meta_image":13969,"meta_title":13849,"preview_image":13970,"preview_description":13992,"preview_image_caption":13997,"related_content":13998,"related_products":14008},"Perspectives on Trans Liberation Today",[13851],{"series":13852},{"link_type":30},{"dimensions":13854,"alt":7,"copyright":7,"url":13856,"id":13857,"edit":13858,"Square":13860,"Horizontal":13865},{"width":13855,"height":973},3010,"https://images.prismic.io/islaa/ZpaC7h5LeNNTxNCc_DuenasdelaNoche_4.jpg?auto=format%2Ccompress&rect=251%2C350%2C2508%2C3500&w=3010&h=4200","ZpaC7h5LeNNTxNCc",{"x":9946,"y":12978,"zoom":13859,"background":173},1.2,{"dimensions":13861,"alt":7,"copyright":7,"url":13862,"id":13857,"edit":13863},{"width":266,"height":266},"https://images.prismic.io/islaa/ZpaC7h5LeNNTxNCc_DuenasdelaNoche_4.jpg?auto=format%2Ccompress&rect=406%2C846%2C2197%2C2197&w=500&h=500",{"x":6422,"y":4661,"zoom":13864,"background":173},1.3700500682749204,{"dimensions":13866,"alt":7,"copyright":7,"url":13867,"id":13857,"edit":13868},{"width":266,"height":272},"https://images.prismic.io/islaa/ZpaC7h5LeNNTxNCc_DuenasdelaNoche_4.jpg?auto=format%2Ccompress&rect=320%2C1069%2C2370%2C1422&w=500&h=300",{"x":5607,"y":13869,"zoom":9066,"background":173},1069,[],{"id":37,"type":38,"tags":13872,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":13873,"link_type":30,"key":497,"isBroken":47},[],{"name":45},"2025-02-01",[],[13877],{"link":13878,"link_label":7},{"link_type":503},[13880],{"variation":101,"version":102,"items":13881,"primary":13882,"id":521,"slice_type":522,"slice_label":7},[],{"text":13883},[13884],{"type":23,"text":13885,"spans":13886,"direction":26},"Saturday, February 1, 2025\n2:00 PM EST\n\nRegister for the event\n\nPlease join us for a panel reflecting on the myriad forms of trans resistance today, organized in conjunction with the exhibition Dueñas de la Noche: Trans Lives and Dreams in 1980s Caracas. 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Expanding on an exhibition produced through the 2023 ISLAA Artist Seminar Initiative at the Center for Curatorial Studies, Bard College (CCS Bard), Dueñas de la Noche marks the first time Trans is shown in New York City, providing an intimate look at these women’s experiences as sex workers, their aspirations, and their community.",[14134,14135,14136,14138],{"start":2505,"end":4780,"type":112},{"start":7147,"end":9695,"type":112},{"start":9906,"end":14137,"type":112},582,{"start":14139,"end":14140,"type":112},603,609,{"type":23,"text":14142,"spans":14143,"direction":26},"When the film first premiered in 1982 at the Cinemateca Nacional de Venezuela, police attempted to arrest Herreros de Lemos, Manaure Arilla, and the twenty-five trans women film collaborators and subjects in attendance. After its premiere, the filmmakers encountered challenges in screening the film for decades, which made preserving and sharing the documentary precarious and dangerous. 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This initiative invites emerging scholars to undertake sustained, in-depth research within the ISLAA Archival Collections & Artist Files, which preserve and provide access to a wide array of primary source materials essential to the study of modern and contemporary Latin American art.\nThe collections constitute a vital resource for investigating key transformations in the arts during the mid-twentieth century. They include archives of Argentine artists such as José Antonio Fernández-Muro, Sarah Grilo, Kazuya Sakai, Norah Borges, Nelia Licenziato, and César Paternosto, along with hundreds of artist files documenting Latin American artists such as Hélio Oiticica or Carlos Cruz-Diez. Fellows will also have the opportunity to explore the histories of influential cultural institutions—such as the Galería Bonino, the Instituto Torcuato Di Tella, and the Centro de Arte y Comunicación—transgressive movements, including the Brazilian Movimento de Arte Pornô, and magazines such as Mexico-published Plural and Artes Visuales.",[14950,14951,14954,14956,14958,14960,14963,14965,14967,14970,14972,14974,14977,14980,14983,14986,14987,14990],{"start":7954,"end":4469,"type":407},{"start":14952,"end":9559,"type":630,"data":14953},375,{"link_type":73,"url":9784,"target":633},{"start":13533,"end":14955,"type":407},772,{"start":6026,"end":14957,"type":407},785,{"start":14959,"end":127,"type":407},787,{"start":14961,"end":14962,"type":407},801,813,{"start":11536,"end":14964,"type":407},832,{"start":14966,"end":2656,"type":407},837,{"start":14968,"end":14969,"type":407},934,948,{"start":14971,"end":1495,"type":407},952,{"start":12752,"end":14973,"type":407},1097,{"start":14975,"end":14976,"type":407},1103,1130,{"start":14978,"end":14979,"type":407},1139,1169,{"start":14981,"end":14982,"type":407},1219,1242,{"start":14984,"end":14985,"type":112},1283,1289,{"start":14984,"end":14985,"type":407},{"start":14988,"end":14989,"type":112},1294,1308,{"start":14988,"end":14989,"type":407},{"type":23,"text":14992,"spans":14993,"direction":26},"Six fellowships will be awarded, which will be distributed as follows: 2 fellowships in Fall 2025, 2 fellowships in Spring 2026, and 2 fellowships in Summer 2026. Fellowships will last between two and four weeks, depending on the residents’ availability. It is a requirement of the fellowship that the researcher be physically present at ISLAA’s headquarters in New York City, located at 142 Franklin Street in Tribeca, for the duration of the fellowship.  ",[],{"type":23,"text":14995,"spans":14996,"direction":26},"We invite applications from MA and PhD students enrolled in graduate university programs in the United States. Research must be directed toward the completion of master’s theses or doctoral dissertations, peer-reviewed journal articles, books or conference presentations. The six selected fellows will be announced before the Summer 2025.",[],{"type":23,"text":14998,"spans":14999,"direction":26},"Selected ISLAA Research Fellows will work in person with the archival collections listed on archives.islaa.org, which include all the archival collections, as well as more than 1,000 Artist Files. Access to collections marked as digitized will also be provided. The Fellows will receive support from the ISLAA Library & Archives Team, led by Agustín Díez Fischer.",[],{"type":23,"text":15001,"spans":15002,"direction":26},"Fellows will provide a brief exit report and deliver an informal presentation at ISLAA based on their selected archival collection, aligning their research with their own interests and expertise. Each selected participant will receive a $2,500 stipend to support their research. This includes all personal costs, travel, lodging, and meals. ISLAA will not be responsible for organizing these logistics and cannot issue travel permits.",[],{"type":23,"text":15004,"spans":15005,"direction":26},"A research committee will review the proposal and make a decision based on its originality, the project, the candidate’s experience, and calendar availability. Only complete applications will be considered, and individual feedback will not be provided. Once a candidate is selected, the decision will be irrevocable. ISLAA must be acknowledged in all work resulting from research in its collections. 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Please click this link to book your visit.",[15191,15192],{"start":12023,"end":7273,"type":112},{"start":12023,"end":7157,"type":630,"data":15193},{"link_type":73,"url":15194,"target":633},"https://calendly.com/ifa-events/the-duke-house-exhibitions-series?month=2022-04",{"variation":101,"version":102,"items":15196,"primary":15198,"id":6984,"slice_type":147,"slice_label":7},[15197],{},{"text":15199},[15200,15205,15208,15213,15218],{"type":23,"text":15201,"spans":15202,"direction":26},"Kenneth Kemble and Silvia Torras: The Formative Years, 1956–63 is the first dual presentation of the work of Argentine artists Kenneth Kemble (1923–1998) and Silvia Torras (1936–1970) in the United States. Curated by Clara Maria Apostolatos, Martina Lentino, Nicasia Solano, and Juul Van Haver, the exhibition is on view from February 23–May 27, 2022, at the New York University Institute of Fine Arts’s James B. 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Through print media, the two-part archival display explores complimentary themes, with one section surveying Kemble’s career and influence on Informalismo, and the other tracing the ways in which their work has been jointly defined.",[],{"type":23,"text":15209,"spans":15210,"direction":26},"Thirteen years Kembles’s junior, Torras trained with Kemble in his studio following her fine art studies in Buenos Aires. Their relationship quickly evolved into a creative and romantic partnership and the two married in 1956. Kemble and Torras held joint exhibitions at such notable Buenos Aires galleries as Galería Lirolay and Galería Peuser and participated as artists and promoters of the historic 1961 exhibition Arte Destructivo (Destructive Art) at Galería Lirolay. After their relationship ended in 1963, Torras moved to Mexico City; she did not show her art again publicly. Kemble outlived Torras by three decades, and consequently, her character and creative trajectory have for the most part been recounted by Kemble. In effect, the discourse surrounding their personal and artistic partnership is largely dominated by his perspective. This exhibition presents the unique opportunity to acknowledge Torras’s individual achievements, despite the lack of important monographic publications and exhibitions outside Argentina.",[15211],{"start":15212,"end":4711,"type":112},419,{"type":23,"text":15214,"spans":15215,"direction":26},"Seeking to emphasize Torras’s artistic autonomy, the exhibition includes four paintings by Torras made between 1960 and 1963, as concrete testimony to her individual practice and legacy. These works demonstrate Torras's interest in nature and organic form, employing vibrant blocks of color on heavily worked canvases, a technique that distinguishes her from other Informalista artists. Both texturally uneven and chromatically balanced, Torras' paintings form vital and intuitive expressions of emotion through layered paint, gestural brushstroke, and bold color composition.",[15216],{"start":12634,"end":15217,"type":112},378,{"type":23,"text":15219,"spans":15220,"direction":26},"The Institute for Studies on Latin American Art (ISLAA) provided funding and extensive archival and research support with special assistance from Julieta Kemble. 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ISLAA's table will feature recent and ongoing publication projects, including our in-house journal Vistas: Critical Approaches to Modern and Contemporary Latin American Art, which provides a platform for emerging scholars and graduate students working on Latin American art. 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Latine, Paris, is delighted to announce the exhibition Inés Blumencweig: Structures sensibles, organized in collaboration with the Institute for Studies on Latin American Art (ISLAA), which will be on view from October 12, 2022, through January 7, 2023. ",[15696],{"start":2505,"end":3597,"type":112},{"type":23,"text":15698,"spans":15699},"Inés Blumencweig: Structures sensibles presents a selection of eleven major works by the Argentine artist Inés Blumencweig (b. 1930, Buenos Aires), produced between 1961 and 1978. The first solo exhibition of Blumencweig's work since 1980, Inés Blumencweig: Structures sensibles seeks to highlight Blumencweig's distinct artistic contribution to the Italian avant-garde movements of the 1960s and 1970s and the narratives of Spatialism, Arte Povera, and Arte Programmata.",[15700,15701],{"start":156,"end":3196,"type":112},{"start":5128,"end":5947,"type":112},{"type":23,"text":15703,"spans":15704},"Like many women artists of her generation, Blumencweig is often positioned in relation to her late husband Mario Pucciarelli (1928–2014), one of the foremost artists of Informalismo. Before settling in Rome, the couple spent time in Washington, D.C. and New York, where Blumencweig was profoundly impacted by Abstract Expressionism. In Rome, she developed a new body of work that departed from her Surrealist-inflected roots. Highlighted in the exhibition, these works explore dimensional relief and are made of industrial materials like metal. ",[15705,15706],{"start":846,"end":7024,"type":112},{"start":11396,"end":13219,"type":112},{"type":23,"text":15708,"spans":15709},"Early canvases from 1961 and 1962 demonstrate the artist’s experimentation with canvas lacerations and metal slats as well as the influence of Arte Povera and, especially, of Spatialism, spearheaded by Lucio Fontana (whom the artist knew personally). In these works, Blumencweig embraces space not as a notion of the absolute but as the possibility of fluid continuity. Some works present a single visible surface, while others defy frontality by moving away from the wall, showing both sides as autonomous objects with an almost sculptural dimension. ",[],{"type":23,"text":15711,"spans":15712},"From 1963, canvas gradually disappeared from her work, giving way to organized sets of metal blades. In two works dated 1973 and 1978, metal blades are replaced by nylon ribbons. These are geometric works whose composition transcends the traditional square or rectangular shapes with visual effects that recall those of Arte Programmata: the contortion of the ribbons produces an optical activation of the space, heightened by the movement of the spectator in front of the work. ",[],{"type":23,"text":15714,"spans":15715},"Inés Blumencweig: Structures sensibles aims to highlight, forty-two years after her last solo exhibition, the work of a singular woman artist whose path has crossed the international avant-gardes. Her powerful pieces assemble these movements in novel ways with accents reminiscent of those of Arte Povera, and, after 1965, with the integration of the geometry and optical effects of Arte Programmata.",[15716],{"start":156,"end":3196,"type":112},{"type":23,"text":15718,"spans":15719},"The works included in the exhibition are on loan from the collection of the Institute for Studies on Latin American Art, New York. 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Institute for Studies on Latin American Art (ISLAA) is delighted to present Born of Informalismo: Marta Minujín and the Nascent Body of Performance, curated by Michaëla de Lacaze Mohrmann. The third in a series of exhibitions on Latin American modernism and its legacies, this show examines the early work of trailblazing Argentine artist Marta Minujín (b. 1943), tracing her trajectory from informalist painting and sculpture to performance.",[15964],{"start":11262,"end":3445,"type":112},{"type":23,"text":15966,"spans":15967,"direction":26},"Presenting three of Minujín’s informalist paintings from around 1959 to 1961 alongside exhibition catalogues, photographs of sculptures, and documentation of the 1963 happening La destrucción (The Destruction), this exhibition highlights Informalismo’s importance as a key conduit for Argentine experimental art of the 1960s. Whereas many accounts of the movement have focused on the production of a small contingent of male artists, this show encourages a reconsideration of its heterogeneity, transnational context, and sociopolitical framework through Minujín’s work, paving the way for additional research into its role in late twentieth-century Latin American art.",[15968],{"start":5980,"end":1457,"type":112},{"type":23,"text":15970,"spans":15971,"direction":26},"Informalist painting emerged in the late 1940s as a form of expressive abstraction characterized by the gestural application of paint. Gradually taking root around the globe, the style developed across Europe, the Americas, and East Asia, pushing the approach in new directions. By 1956, it had firmly taken hold in Buenos Aires, where the movement’s proponents produced relief-like paintings that incorporated a somber color palette and the extra-artistic materials of everyday life, including rags and rusted cans. Evocative of the harsh realities of daily life and a general postwar malaise, Argentine Informalismo embraced ugliness, spontaneity, violence, and irrationality in a decisive break with the mathematically precise logic of the country’s preceding avant-gardes, such as Concretism.",[],{"type":23,"text":15973,"spans":15974,"direction":26},"While the style was largely dismissed by contemporary critics, who derided its use of base materials, Born of Informalismo highlights the movement’s art historical significance and role as a foundational catalyst for experiments beyond the canvas. For Minujín, who used Informalismo’s lexicon of earthy colors, found items, and textural impastos to convey the passage of time, the style offered a crucial platform for testing out ideas regarding the body and action in art. Paintings such as Gran mancha (Big Stain, ca. 1959), Mancha (Stain, 1960), and Homenaje a Greco (Homage to Greco, 1961), composed of thick layers of smeared and speckled oils, evince the effects of aging through their cracked skin-like surfaces. Minujín’s subsequent informalist sculptures of the early 1960s marked a transition into three dimensions by constructing discarded mattresses and cardboard into fragile anthropomorphic and embodied forms.",[15975,15976,15977,15979],{"start":7233,"end":1456,"type":112},{"start":11406,"end":6425,"type":112},{"start":15978,"end":851,"type":112},526,{"start":12351,"end":6970,"type":112},{"type":23,"text":15981,"spans":15982,"direction":26},"These experiments in painting and sculpture coincided with Minujín’s early performances, setting the stage for her first full-scale happening, La destrucción—a pivotal piece, produced in Paris, in which she destroyed her sculptures in a ceremonial conflagration. Inspired by Nouveaux réalisme in France and following the emergence of Arte destructivo in Argentina, Minujín abandoned the informalist idiom in 1963, going on to contribute formative work in installation, performance, and time-based media in the following years.",[15983],{"start":7987,"end":12559,"type":112},{"type":23,"text":15985,"spans":15986,"direction":26},"This exhibition would not have been possible without the support and collaboration of Marta Minujín and the Marta Minujín Archive, who generously made materials available for reproduction. ISLAA would like to extend its sincere gratitude for their assistance.",[],{"type":23,"text":15988,"spans":15989,"direction":26},"Born of Informalismo: Marta Minujín and the Nascent Body of Performance is accompanied by a publication that includes an essay by curator Michaëla de Lacaze Mohrmann. Physical copies will be distributed free of charge at ISLAA and made available for download online.",[15990,15991],{"start":156,"end":1339,"type":112},{"start":4348,"end":9256,"type":630,"data":15992},{"link_type":73,"url":15993,"target":633},"https://islaa.org/bookshop/born-of-informalismo",{"type":23,"text":15995,"spans":15996,"direction":26},"ISLAA is open from 2 to 5 PM on Tuesday and from 2 to 7 PM on Wednesday through Friday. Guests must wear masks and adhere to all COVID-19 guidelines while on-site. 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by Harper Montgomery, professor of Modern and Contemporary Latin American Art with Sarah Watson, chief curator, and Re’al Christian, Lazarus Graduate Curatorial Fellow, and with MA and MFA students enrolled in the curatorial practicum seminar The Transgressive Itineraries of Conceptualism. The exhibition has been developed in close collaboration with David Lamelas, who worked with students via Zoom on both projects during the course of the pandemic, from spring of 2020 through the fall of 2021.\n",[],{"type":23,"text":16429,"spans":16430,"direction":26},"Life as Activity: David Lamelas marks the artist’s first solo show in New York in more than a decade. For over half a century, Lamelas (b. 1946, Buenos Aires) has made work that pushes the boundaries of contemporary art by defying conventions of artistic media. Although he is globally recognized as a ground-breaking figure of conceptual art, his explorations with the spatial qualities of film and the signifiers of identity have not been adequately investigated. Life as Activity focuses on Lamelas’s experimentation with film and his examination of identity and narrative fiction in light of his ongoing insistence that his artistic practice has always, in one way or another, been grounded in his sense of himself as a sculptor.",[16431,16432],{"start":156,"end":2711,"type":112},{"start":4712,"end":16433,"type":112},482,{"type":23,"text":16435,"spans":16436,"direction":26},"The exhibition brings together sculpture, film, and photography made across many decades and locations to center this aspect of Lamelas’s artistic practice. These works include two key sculptural installations he made in Buenos Aires in 1966 and 1967, Situación de cuatro placas de aluminio (Four Changeable Plaques), a moveable configuration of aluminum sheets, and Limit of a Projection, a spotlight in a dark room; a series of ten photographs shot in London that pose as film stills for a non-existent movie, The Violent Tapes of 1975; and two films, The Desert People, a pseudo-documentary about a road trip to a Native American reservation which was shot in Los Angeles in 1974 and The Invention of Dr. Morel, a film based on the Argentine writer Adolfo Bioy Casares’s novel The Invention of Morel (1940), which was filmed in Potsdam, Germany in 2000. Both films will be screened on an ongoing basis at set times, which will be available on the Leubsdorf Gallery website. Showcasing the ways in which Lamelas makes us aware of how the stories we tell ourselves are shaped by encounters with space and time, all of these works invite us to participate in scenarios in which container, contained, observer, and observed become blurred.",[16437,16439,16440,16443,16444,16445],{"start":16438,"end":13979,"type":112},252,{"start":6978,"end":12635,"type":112},{"start":16441,"end":16442,"type":112},512,537,{"start":14296,"end":12352,"type":112},{"start":10416,"end":121,"type":112},{"start":16446,"end":16447,"type":112},780,803,{"type":23,"text":16449,"spans":16450,"direction":26},"The exhibition Life as Activity: David Lamelas is part of the ISLAA Artist Seminar Initiative at Hunter College. Additional support for Life as Activity: David Lamelas is made possible by Joan Lazarus, Gagosian Gallery and the James Howell Foundation in support of the Advanced Certificate in Curatorial Studies, and by the galleries’ sustaining supporters the David Bershad Family Foundation, the Susan V. Bershad Charitable Fund, Inc., Carol and Arthur Goldberg, the Anna-Maria and Stephen Kellen Foundation, and the Leubsdorf Fund.",[16451,16452],{"start":281,"end":998,"type":112},{"start":4780,"end":14730,"type":112},"single_column_content$d9986bb7-5c50-4fc9-83cd-b8b923ed7d5a",{"variation":101,"version":102,"items":16455,"primary":16456,"id":16462,"slice_type":147,"slice_label":7},[],{"text":16457},[16458],{"type":23,"text":1162,"spans":16459,"direction":26},[16460],{"start":156,"end":157,"type":158,"data":16461},{"label":160},"single_column_content$b46ff732-fdc1-41bf-ae7c-003411137bbf",{"variation":101,"version":102,"items":16464,"primary":16510,"id":16511,"slice_type":243,"slice_label":7},[16465,16474,16483,16491,16500],{"image":16466,"image_caption":16473},{"dimensions":16467,"alt":16469,"copyright":7,"url":16470,"id":16471,"edit":16472},{"width":3969,"height":16468},1203,"Installation view of ten black and white photographs by David Lamelas in a linear arrangement on a white wall.","https://images.prismic.io/islaa/4cc22ee9-c597-4f9e-906c-3c2c692dd8b0_SP_7037-web.jpg?auto=compress,format","ZSRmuRAAACUApaWN",{"x":156,"y":156,"zoom":172,"background":915},[],{"image":16475,"image_caption":16482},{"dimensions":16476,"alt":16478,"copyright":7,"url":16479,"id":16480,"edit":16481},{"width":3969,"height":16477},1420,"Installation view of vitrines with archival photographs and documents.","https://images.prismic.io/islaa/b601413c-1732-49ba-bf4d-baa95b8e26f9_SP_7063-Edit-web.jpg?auto=compress,format","ZSRmuRAAACUApaWO",{"x":156,"y":156,"zoom":172,"background":915},[],{"image":16484,"image_caption":16490},{"dimensions":16485,"alt":16486,"copyright":7,"url":16487,"id":16488,"edit":16489},{"width":3969,"height":263},"Installation view of a white-walled room with a ceiling-mounted light creating a bright circular shape on the floor.","https://images.prismic.io/islaa/c0f60dae-5fd8-46f0-af96-1db7fc8cc10d_SP_7035-web.jpg?auto=compress,format","ZSRmuRAAACUApaWP",{"x":156,"y":156,"zoom":172,"background":915},[],{"image":16492,"image_caption":16499},{"dimensions":16493,"alt":16495,"copyright":7,"url":16496,"id":16497,"edit":16498},{"width":3969,"height":16494},1127,"Installation view of a vitrine with archival photographs and documents.","https://images.prismic.io/islaa/9cbaa5d2-603d-492a-b7b5-6acc9345345e_SP_7069-web.jpg?auto=compress,format","ZSRmuRAAACIApaWQ",{"x":156,"y":156,"zoom":172,"background":915},[],{"image":16501,"image_caption":16507},{"dimensions":16502,"alt":16503,"copyright":7,"url":16504,"id":16505,"edit":16506},{"width":3969,"height":263},"Installation view of a video projection in a dark room.","https://images.prismic.io/islaa/78049531-dd22-4be8-9659-2f837286d180_SP_7080-web.jpg?auto=compress,format","ZSRmuRAAACQApaWM",{"x":156,"y":156,"zoom":172,"background":915},[16508],{"type":23,"text":138,"spans":16509},[],{},"image_carousel$3e10e93b-4bdf-4d11-abe2-88e5f7fee306",{},{"dimensions":16514,"alt":16495,"copyright":7,"url":16496,"id":16497,"edit":16515},{"width":3969,"height":16494},{"x":156,"y":156,"zoom":172,"background":915},[],[16518],{"type":23,"text":16519,"spans":16520},"ISLAA is delighted to congratulate Hunter College on its exhibition and related publication,Life as Activity: David Lamelas. These projects developed from a graduate seminar in Hunter College’s Advanced Certificate in Curatorial Studies supported by ISLAA through our Artist Seminar Initiative, an education and curatorial program that fosters intimate exchanges between students and living Latin American and Latinx artists.\n",[16521],{"start":436,"end":9701,"type":112},[16523],{"page":16524},{"link_type":30},[16526],{"shopify_product_handle":7},{"id":16528,"uid":16529,"url":7,"type":8,"href":16530,"tags":16531,"first_publication_date":16532,"last_publication_date":16533,"slugs":16534,"linked_documents":16536,"lang":17,"alternate_languages":16537,"data":16538},"ZQoCSBAAACEA1BBz","partner-2023-feb-dhe-centurion","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZQoCSBAAACEA1BBz%22%29+%5D%5D",[11],"2023-09-19T20:19:39+0000","2025-05-07T02:21:49+0000",[16535],"feliciano-centurion-telas-y-textos",[],[],{"title":16539,"subtitle":16540,"series":16544,"regions":16549,"date":16552,"end_date":16553,"location":16554,"institutions":16558,"exhibition_materials":16563,"in_the_news":16568,"artists":16574,"curators":16579,"art_movements":16599,"slices":16602,"meta_description":16539,"meta_image":16746,"meta_title":16754,"preview_image":16755,"preview_image_caption":16761,"preview_description":16766,"related_content":16769,"related_products":16772},"Feliciano Centurión: Telas y Textos",[16541],{"type":23,"text":16542,"spans":16543},"Curated by Diana Cao, Tatiana Marcel, and Nicasia Solano",[],[16545],{"series":16546},{"id":15098,"type":1366,"tags":16547,"lang":17,"slug":15100,"first_publication_date":15101,"last_publication_date":15101,"uid":15100,"link_type":30,"key":16548,"isBroken":47},[],"52294654-dc0e-4ed5-b223-ff014eae541a",[16550],{"region":16551},{"link_type":30},"2023-02-06","2023-05-19",{"id":14357,"type":38,"tags":16555,"lang":17,"slug":10128,"first_publication_date":14359,"last_publication_date":14360,"uid":14361,"data":16556,"link_type":30,"key":16557,"isBroken":47},[],{"name":14363},"434d8862-65fb-4153-86fe-d3efa58a6331",[16559],{"institution":16560},{"id":10126,"type":327,"tags":16561,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":16562,"isBroken":47},[],"23e866d2-1a5c-475d-9008-9ac7f537e552",[16564],{"link":16565,"link_label":61},{"link_type":73,"key":16566,"url":16567},"af1ba4eb-ea29-4da0-9bfb-80777c035302","https://www.nyu.edu/about/news-publications/news/2023/january/new-york-university-s-institute-of-fine-arts-to-present-felician.html",[16569],{"press_link":16570,"link_label":16573},{"link_type":73,"key":16571,"url":16572},"16fa96b8-4a0f-4c3d-9f78-23e9428340d8","https://artreview.com/the-top-10-contemporary-art-shows-to-see-in-february-2023-international/","ArtReview Review by Oliver Basciano",[16575],{"artist":16576},{"id":2325,"type":84,"tags":16577,"lang":17,"slug":2327,"first_publication_date":2328,"last_publication_date":2329,"uid":2327,"link_type":30,"key":16578,"isBroken":47},[],"2594f9c5-37a5-4b75-9311-fd79dcb48043",[16580,16588,16595],{"curator":16581},{"id":16582,"type":84,"tags":16583,"lang":17,"slug":16584,"first_publication_date":16585,"last_publication_date":16586,"uid":16584,"link_type":30,"key":16587,"isBroken":47},"ZQoBjhAAACIA1A9N",[],"diana-cao","2023-09-19T20:16:18+0000","2023-09-25T20:14:46+0000","dc689765-0dad-4409-8b8b-41d63cb5bcb7",{"curator":16589},{"id":16590,"type":84,"tags":16591,"lang":17,"slug":16592,"first_publication_date":16593,"last_publication_date":16593,"uid":16592,"link_type":30,"key":16594,"isBroken":47},"ZRHvxhAAACsASb6H",[],"tatiana-marcel","2023-09-25T20:38:34+0000","0d7f32b5-f19b-488b-b9a8-7c07d943a690",{"curator":16596},{"id":15158,"type":84,"tags":16597,"lang":17,"slug":15160,"first_publication_date":15161,"last_publication_date":15161,"uid":15160,"link_type":30,"key":16598,"isBroken":47},[],"6a9e6d52-0248-4728-af5d-90ba988ded89",[16600],{"art_movement":16601},{"link_type":30},[16603,16623,16664,16674,16737],{"variation":101,"version":102,"items":16604,"primary":16606,"id":16622,"slice_type":147,"slice_label":7},[16605],{},{"text":16607},[16608,16613,16616],{"type":23,"text":16609,"spans":16610,"direction":26},"VISITING HOURS",[16611],{"start":156,"end":1039,"type":158,"data":16612},{"label":160},{"type":23,"text":16614,"spans":16615,"direction":26},"Mondays from 10:00 AM - 12:00 PM\nTuesdays from 12:30 - 2:00 PM\nFridays from 10:00 AM - 12:00 PM",[],{"type":23,"text":16617,"spans":16618,"direction":26},"Appointments are required. Please click this link to book your visit.",[16619],{"start":156,"end":7273,"type":630,"data":16620},{"link_type":73,"url":16621,"target":633},"https://calendly.com/ifa-events/the-duke-house-exhibitions-series?month=2023-02&date=2023-02-14","single_column_content$425e8a96-e320-4e2a-96a1-fc41995e4963",{"variation":101,"version":102,"items":16624,"primary":16626,"id":16663,"slice_type":147,"slice_label":7},[16625],{},{"text":16627},[16628,16632,16635,16638,16641,16644,16647,16657,16660],{"type":23,"text":16629,"spans":16630},"The Duke House Exhibition Feliciano Centurión: Telas y Textos showcases the artist’s embroideries on various readymade textiles executed between 1990 and 1994, highlighting the latter years of Centurión’s short, but prolific career.",[16631],{"start":430,"end":7339,"type":112},{"type":23,"text":16633,"spans":16634},"The four major works in the exhibition feature embroidered texts, juxtaposing floral images with both political and personal phrases. The accompanying archival display presents smaller textile works including the artist’s signature whimsical animal motifs and two sculptures from his Familia series.",[],{"type":23,"text":16636,"spans":16637},"Centurión’s textiles reflect his upbringing in a matriarchal Paraguayan household, and his experiences as a queer artist in Buenos Aires, Argentina, where he lived for most of his life. He often incorporated historically feminized crafts such as knitting, crocheting, and embroidering. Throughout his practice, Centurión incorporated ordinary household items such as frazadas (blankets), handkerchiefs, and pillowcases bought from local street markets. The prevalence of textiles in Centurión’s work is in keeping with Guaraní weaving tradtions and reflects the influence of the Indigenous cultures native to Argentina, Bolivia, Brazil and most ubiquitously, Paraguay, where Guaraní is one of the country’s two official languages.",[],{"type":23,"text":16639,"spans":16640},"The craftworks in this exhibition apply the technique of ñandutí (meaning “spider web” in Guaraní), an intricate method of lace weaving traditionally passed down from mother to daughter. As seen in the four larger works in the exhibition, a key identifying characteristic of these weblike fabrics is the round center, called the “apyte,” from which geometric forms then radiate. Centurión’s early works were bright, brash, abstract figurative compositions that evolved into the embroidered blankets seen in the exhibition.",[],{"type":23,"text":16642,"spans":16643},"Having witnessed military dictatorships in both Paraguay and Argentina during his lifetime, Centurión flourished in Argentina after the collapse of the country’s authoritarian regime in 1983. He found a lively community at the Centro Cultural Rector Ricardo Rojas in Buenos Aires and participated in 31solo exhibitions in Argentina and Paraguay between 1990 and his death in 1996. After being diagnosed with HIV in 1992, Centurión began chronicling his declining health by weaving texts onto increasingly smaller and more intricate fabrics. The sentimental words expressing notions of love, desire, and longing for home, coupled with the soft textiles convey a humanizing sense of warmth, intimacy, and comfort, which contrasted with the public stigmatization of the virus and its victims brought on by reckless government policies and media reports. He also used bright colors and animals from his childhood, such as snails and crocodiles, to present kitsch imagery as both humorous anecdotes and bold declarations of life. Centurión’s frazada works celebrate his matrilineal upbringing and Paraguayan heritage, using embroidery to subvert gender norms, express his queer identity, and elevate the status of textile art to that typically reserved for high art.",[],{"type":23,"text":16645,"spans":16646},"Feliciano Centurión (1962-1996) was a Paraguayan textile artist and painter. Born in San Ignacio, Paraguay, his family fled to Formosa, Argentina to escape Alfredo Stroessner’s military dictatorship in Paraguay. In Formosa, he studied plastic arts at the Oscar R. Albertozzi School of Fine Arts. He then permanently relocated to Buenos Aires, Argentina, where he studied painting at the Prilidiano Pueyrredón School of Fine Arts, and the Ernesto de la Cárcova Superior School of Fine Arts. Centurión’s first solo exhibition was held in 1982 at the Estimulo de Bellas Artes in Asunción, Paraguay. Throughout the late 1980s and the 1990s, he was a prominent figure at the Centro Cultural Rector Ricardo Rojas in Buenos Aires. During this time, he exhibited works in Buenos Aires and Asunción, and represented Paraguay in the fifth Havana Biennial in 1994. Centurión passed away at 34 years old due to AIDS-related complications.",[],{"type":23,"text":16648,"spans":16649},"Most recently, Centurión’s works have been the subject of a solo presentation in Affective Affinities, the 33rd São Paulo Biennial, São Paulo (2018); Abrigo, Americas Society, New York (2020); and Ñande Róga, Hessel Museum of Art, Annandale-on-Hudson, New York (2021). Group exhibitions include Bodies of Water at the 13th Shanghai Biennale, Shanghai (2021); and Eros Rising: Visions of the Erotic in Latin American Art at the Institute for Studies on Latin American Art (ISLAA), New York (2022).",[16650,16651,16652,16653,16655],{"start":5124,"end":489,"type":112},{"start":4492,"end":4689,"type":112},{"start":12219,"end":5169,"type":112},{"start":9160,"end":16654,"type":112},310,{"start":16656,"end":3894,"type":112},363,{"type":23,"text":16658,"spans":16659},"Special thanks to Professor Edward J. 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Hermenegildo Sábat in front of his work Por fin se murió (At Last He Died), 1965, at the Salón de Pintura Moderna del Instituto General Electric (IGE), Montevideo, 1963 or 1965. Museo Nacional de Artes Visuales, Montevideo. Photo: Alfredo Testoni",[17002],{"start":937,"end":1906,"type":112},{"image":17004,"image_caption":17011},{"dimensions":17005,"alt":17007,"copyright":7,"url":17008,"id":17009,"edit":17010},{"width":17006,"height":16993},1628,"Colorful painting of an assembly of people closely gathered together","https://images.prismic.io/islaa/ZliE1qWtHYXtT74k_2.jpg?auto=format,compress","ZliE1qWtHYXtT74k",{"x":156,"y":156,"zoom":172,"background":173},[17012],{"type":23,"text":17013,"spans":17014,"direction":26},"Fig. 2. Jorge Páez Vilaró, Asamblea partidaria (Party Assembly), 1966. Enamel on canvas, 48 × 64 in. (120 × 160 cm). Museo Nacional de Artes Visuales, Montevideo",[17015],{"start":402,"end":6070,"type":112},{"image":17017,"image_caption":17024},{"dimensions":17018,"alt":17020,"copyright":7,"url":17021,"id":17022,"edit":17023},{"width":17019,"height":7289},2003,"Bright colored painting of expressive faces","https://images.prismic.io/islaa/ZliE16WtHYXtT74l_3.jpg?auto=format,compress","ZliE16WtHYXtT74l",{"x":156,"y":156,"zoom":172,"background":173},[17025],{"type":23,"text":17026,"spans":17027,"direction":26},"Fig. 3. Jorge Páez Vilaró, La niña Gabriela sueña con monstruitos (Little Gabriela Dreams of Little Monsters), 1968. Oil on canvas, 80 3/4 × 63 1/2 in. (205 × 161 cm). Museo Nacional de Artes Visuales, Montevideo",[17028,17029],{"start":402,"end":1878,"type":112},{"start":8615,"end":4850,"type":112},{"text":17031},[17032,17039,17042,17045,17048,17060,17063,17072,17080,17083,17086],{"type":23,"text":17033,"spans":17034,"direction":26},"From the Desk of … invites scholars to fill gaps in English-language reference materials on Latin American art by developing research on movements, geographies, and methodologies.",[17035,17036,17038],{"start":156,"end":2680,"type":112},{"start":156,"end":11683,"type":158,"data":17037},{"label":12562},{"start":157,"end":11683,"type":112},{"type":23,"text":17040,"spans":17041,"direction":26},"From 1920 to 1950, the visual arts in South America presented resonances with the kind of realism practiced by Mexican muralists like David Alfaro Siqueiros and José Clemente Orozco, but they also displayed influences from European artistic movements such as Expressionism, Surrealism, and Post-Cubism. During this eclectic period, socially oriented realism focused on representing human figures. These figures were either idealized—highlighting their utopian potential—or portrayed as victims in Indigenist interpretations. This artistic approach aimed to uncover traces of a new form of humanism within the distorting reflections of secular colonialism and the militaristic brutality that marked the twentieth century. ",[],{"type":23,"text":17043,"spans":17044,"direction":26},"In the context of Río de la Plata, this stereotypical realist model faced a definitive crisis in the 1960s, coinciding with a crisis of its underlying subject. The emerging art agents, primarily from the urban middle classes, found themselves in conflict. On one hand, they were drawn to promises of emancipation; on the other, they were caught in the grip of consumerism and the chaotic communication of mass media. This hypercritical subject had to construct itself within an ethical framework that was able to combine hope and hopelessness, cynicism and humor. The Nueva Figuración movement emerged in the Río de la Plata region out of this semantic field. Featuring a transgressive form of figuration, it critiqued the classical canon through distorted images of the body, blending human and animal elements, and juxtaposing the lyrical with the bestial. ",[],{"type":23,"text":17046,"spans":17047,"direction":26},"Of course, this approach was not new in Western iconography. Some of its metropolitan predecessors included the spectral figures of James Ensor, Edvard Munch, and Emil Nolde. Additionally, closer in time were artists like Henri Michaux, Jean Fautrier, Francis Bacon, and the CoBrA group, whose works offered a biting critique of the prototypical modern subject. ",[],{"type":23,"text":17049,"spans":17050,"direction":26},"In Argentina, the paintings created by young artists who began to gather and exhibit their work after the fall of President Juan Domingo Perón in 1955 captured the attention of French critic Michel Ragon, who coined the term “Nueva Figuración” to describe their style. The most advanced group that followed this direction—which included Luis Felipe Noé (Buenos Aires, 1933), Ernesto Deira (Buenos Aires 1928–Paris 1986), Jorge de la Vega (Buenos Aires, 1930–1971) and Rómulo Macció (Buenos Aires 1931–2016)—first showed in Buenos Aires in 1961. Their aesthetic style gained momentum in the 1960s, fueled by a vibrant expressionism that melded the legacies of Surrealism, Action Painting, and Pop art. Felipe Noé stated: “The human figure, immersed in chaos, gains a new meaning and purpose.”Néstor Ponce, “Mirar para entender. La mirada escópica de Luis Felipe Noé y del grupo Nueva Figuración, 1961-1965,” Amerika 23 (Imaginaires de la Limite, 2021): 11.",[17051,17053,17055,17057],{"start":12658,"end":941,"type":158,"data":17052},{"label":12624},{"start":17054,"end":13304,"type":112},877,{"start":17056,"end":7009,"type":112},907,{"start":17058,"end":17059,"type":112},915,917,{"type":23,"text":17061,"spans":17062,"direction":26},"In Uruguay, this type of figuration did not break entirely with traditional painting, unlike the Argentine group, particularly Noé. In fact, their main format was not painting but drawing, which reached its height with a wave of artists who emerged at the end of the decade. The middle-class sector, which included most artists and intellectuals, assumed an unprecedented political and cultural role. At the same time, like the urban working classes, they were impacted by a social and economic crisis that escalated and ultimately led to the most profound institutional collapse the country experienced in the twentieth century during the 1970s. ",[],{"type":23,"text":17064,"spans":17065,"direction":26},"In this essay, I will consider the years 1960–80 as the Nueva Figuración cycle in Uruguay, which unfolded both in painting and in the graphic arts as a response to specific political, social, and cultural circumstances. This local context was crucial for the emergence of this movement, which was further influenced by other regional resonances. In February 1960, several Argentine drafters exhibited their work in Montevideo, among them Jorge Mattalía (Entre Ríos, Argentina, 1931–Cosquín, Argentina, 1980) and Julio Martínez Howard (Entre Ríos, Argentina, 1932–Buenos Aires, 1999). A journalistic piece detailed that work by these artists shared a “common expressive feature: they violently manipulated and deformed the human figure with the intention of achieving an extreme expression.”Celina Rolleri, “Cinco dibujantes argentinos,” Marcha (Montevideo), February 19, 1960, 15.",[17066,17070],{"start":17067,"end":17068,"type":158,"data":17069},790,880,{"label":12624},{"start":14966,"end":17071,"type":112},843,{"type":23,"text":17073,"spans":17074,"direction":26},"In July of the same year, the Instituto Cultural Uruguayo-Brasileño showed drawings and engravings by Marcelo Grassman (São Paulo, 1925–2013), an artist who, according to the press, displayed a “critical and sarcastic grasp of reality, featuring invented figures that blended human, animal, and monstrous elements.”Celina Rolleri, “Grabados y dibujos de Marcelo Grassmann,” Marcha (Montevideo), June 8, 1960, 15.",[17075,17078],{"start":8512,"end":17076,"type":158,"data":17077},412,{"label":12624},{"start":17079,"end":11796,"type":112},374,{"type":23,"text":17081,"spans":17082,"direction":26},"Additionally, in 1963, the four members of the Argentine group exhibited in Montevideo. They shared with the Uruguayan artists a cultural context conducive to a skeptical and caustic perspective on the human condition. ",[],{"type":23,"text":17084,"spans":17085,"direction":26},"In Uruguay, this pictorial current emerged in parallel to Matter Informalism, as some of these painters began to include android forms in their work, while others, outside of this tendency, started to practice a grotesque and sardonic figuration. ",[],{"type":23,"text":17087,"spans":17088,"direction":26},"In the graphic arts, this style first emerged in journalist illustrations and printmaking, which led, in the second half of the 1960s, to a group of artists focusing on independent drawing. These artists soon exhibited a distinctive blend of irritating irony and dark humor, embodying an iconoclastic spirit that challenged the established aesthetic and moral norms of society. ",[],"double_column_content$532a689b-fa25-46e3-b2b2-1a2a23bdb753",{"variation":101,"version":102,"items":17091,"primary":17092,"id":17099,"slice_type":147,"slice_label":7},[],{"text":17093},[17094],{"type":23,"text":17095,"spans":17096,"direction":26},"The Nueva Figuración cycle in Uruguay unfolded in 1960–80 both in painting and in the graphic arts as a response to specific political, social, and cultural circumstances.",[17097],{"start":156,"end":4351,"type":158,"data":17098},{"label":160},"single_column_content$1be57a5c-cde2-4714-880b-cfd4950cb37e",{"variation":101,"version":102,"items":17101,"primary":17172,"id":17173,"slice_type":243,"slice_label":7},[17102,17116,17130,17144,17158],{"image":17103,"image_caption":17111},{"dimensions":17104,"alt":17107,"copyright":7,"url":17108,"id":17109,"edit":17110},{"width":17105,"height":17106},1299,1658,"Painting of a lady next to a painting","https://images.prismic.io/islaa/ZliE4KWtHYXtT74o_4.jpg?auto=format,compress?auto=compress,format","ZliE4KWtHYXtT74o",{"x":156,"y":156,"zoom":172,"background":915},[17112],{"type":23,"text":17113,"spans":17114},"Fig. 4. Jorge Páez Vilaró, Café tango con damas (Café Tango with Ladies), n. d. Ink on paper, 35 13/16 × 28 3/16  in. (91 × 71.5 cm). Museo Nacional de Artes Visuales, Montevideo",[17115],{"start":402,"end":937,"type":112},{"image":17117,"image_caption":17125},{"dimensions":17118,"alt":17121,"copyright":7,"url":17122,"id":17123,"edit":17124},{"width":17119,"height":17120},3430,1656,"Left: black-and-white photograph of a man holding a painting on the floor while smoking. Right: black-and-white photograph of a smoking next to a large-scale painting","https://images.prismic.io/islaa/ZliE4KWtHYXtT74n_5-6.jpg?auto=format,compress?auto=compress,format","ZliE4KWtHYXtT74n",{"x":156,"y":156,"zoom":172,"background":915},[17126],{"type":23,"text":17127,"spans":17128},"Fig. 5-6. Left: Ruisdael Suárez. Image published in the newspaper La Mañana (Montevideo), May 11, 1968. Right: Ernesto Cristiani, exhibition at the Centro de Artes y Letras in Punta del Este, Uruguay, February 6, 1969. Image courtesy of Galería U, Montevideo",[17129],{"start":4850,"end":7232,"type":112},{"image":17131,"image_caption":17139},{"dimensions":17132,"alt":17135,"copyright":7,"url":17136,"id":17137,"edit":17138},{"width":17133,"height":17134},1363,1323,"Collage of white heads floating in a black space","https://images.prismic.io/islaa/ZliE6aWtHYXtT74s_7.jpg?auto=format,compress","ZliE6aWtHYXtT74s",{"x":156,"y":156,"zoom":172,"background":173},[17140],{"type":23,"text":17141,"spans":17142,"direction":26},"Fig. 7. Ernesto Cristiani, Figuras (Figures), 1967. Mixed media and collage on paper, 16 15/16× 16 15/16 in. (43 × 43 cm). Photo: Antonella de Ambroggi",[17143],{"start":402,"end":8615,"type":112},{"image":17145,"image_caption":17153},{"dimensions":17146,"alt":17149,"copyright":7,"url":17150,"id":17151,"edit":17152},{"width":17147,"height":17148},1613,1199,"Collage of colorful stripes that compose a collective portrait","https://images.prismic.io/islaa/ZliE6KWtHYXtT74r_8.jpg?auto=format,compress","ZliE6KWtHYXtT74r",{"x":156,"y":156,"zoom":172,"background":173},[17154],{"type":23,"text":17155,"spans":17156,"direction":26},"Fig. 8. Ruisdael Suárez, Untitled, 1974. Mixed media on paper, 12 1/2 × 19 1/4 in. (31.8 × 48.9 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17157],{"start":2681,"end":2547,"type":112},{"image":17159,"image_caption":17167},{"dimensions":17160,"alt":17163,"copyright":7,"url":17164,"id":17165,"edit":17166},{"width":17161,"height":17162},1756,1220,"Painting of a man with a bird head next to a bird","https://images.prismic.io/islaa/ZliE8qWtHYXtT74u_9.jpg?auto=format,compress","ZliE8qWtHYXtT74u",{"x":156,"y":156,"zoom":172,"background":173},[17168],{"type":23,"text":17169,"spans":17170,"direction":26},"Fig. 9. Ruisdael Suárez, Untitled, 1978. Oil on fiber, 18 3/4 × 26 5/8 in. (47.6 × 67.6 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17171],{"start":2681,"end":2547,"type":112},{},"image_carousel$13f307bd-2a8b-4ddf-be7a-13489ed9528b",{"variation":101,"version":102,"items":17175,"primary":17176,"id":17183,"slice_type":147,"slice_label":7},[],{"text":17177},[17178],{"type":23,"text":17179,"spans":17180,"direction":26},"The emergence of this critical attitude formed a cultural link between that group of writers and the artists who were adopting a new form of figuration in the visual arts.",[17181],{"start":156,"end":4351,"type":158,"data":17182},{"label":160},"single_column_content$56f596d2-3e8c-4a7c-8a23-bc5e78f6b328",{"variation":101,"version":102,"items":17185,"primary":17244,"id":17292,"slice_type":12567,"slice_label":7},[17186,17200,17216,17230],{"image":17187,"image_caption":17195},{"dimensions":17188,"alt":17191,"copyright":7,"url":17192,"id":17193,"edit":17194},{"width":17189,"height":17190},2121,1428,"Drawing of face of a man screaming with a large open mouth and a bright red tongue","https://images.prismic.io/islaa/ZliE8qWtHYXtT74v_10.jpg?auto=format,compress?auto=compress,format","ZliE8qWtHYXtT74v",{"x":156,"y":156,"zoom":172,"background":915},[17196],{"type":23,"text":17197,"spans":17198},"Fig. 10. Manuel Espínola Gómez, Plus (Por los uruguayos silenciados) (Plus [For the Silenced Uruguayans]), 1974. Graphite and crayon on paper, 25 3/16 × 39 3/8 in. (64 × 100 cm). Museo Nacional de Artes Visuales, Montevideo",[17199],{"start":629,"end":136,"type":112},{"image":17201,"image_caption":17209},{"dimensions":17202,"alt":17205,"copyright":7,"url":17206,"id":17207,"edit":17208},{"width":17203,"height":17204},2844,1748,"Painting of a man's face next to a forest","https://images.prismic.io/islaa/ZliFEqWtHYXtT745_11.jpg?auto=format,compress?auto=compress,format","ZliFEqWtHYXtT745",{"x":156,"y":156,"zoom":172,"background":915},[17210],{"type":23,"text":17211,"spans":17212},"Fig. 11. Manuel Espínola Gómez, Paisaje encabezado (Headed Landscape), 1978, from the series Polifocalismo, 1977–78. Oil on canvas, 36 5/8 × 63 in. (93 × 160 cm). Museo Nacional de Artes Visuales, Montevideo. Courtesy Comisión del Bicentenario",[17213,17214],{"start":629,"end":4701,"type":112},{"start":1181,"end":17215,"type":112},106,{"image":17217,"image_caption":17225},{"dimensions":17218,"alt":17221,"copyright":7,"url":17222,"id":17223,"edit":17224},{"width":17219,"height":17220},4074,2283,"Black-and-white photograph of a man standing next to a painting","https://images.prismic.io/islaa/ZliFFqWtHYXtT747_12.jpg?auto=format,compress?auto=compress,format","ZliFFqWtHYXtT747",{"x":156,"y":156,"zoom":172,"background":915},[17226],{"type":23,"text":17227,"spans":17228},"Fig. 12. Haroldo González in front of his work La reacción (The Reaction), 1969, at his exhibition at Galería U in Montevideo, August 1970. Haroldo González Archive. Courtesy the artist",[17229],{"start":6070,"end":1892,"type":112},{"image":17231,"image_caption":17239},{"dimensions":17232,"alt":17235,"copyright":7,"url":17236,"id":17237,"edit":17238},{"width":17233,"height":17234},1417,1137,"Painting of a uterus with a face inside","https://images.prismic.io/islaa/ZliFTqWtHYXtT75P_13.jpg?auto=format,compress","ZliFTqWtHYXtT75P",{"x":156,"y":156,"zoom":172,"background":173},[17240],{"type":23,"text":17241,"spans":17242,"direction":26},"Fig. 13. Haroldo González, Untitled, 1979. Painting and collage, 27 9/16 × 35 7/16 in. (70 × 90 cm). Courtesy the artist",[17243],{"start":402,"end":8615,"type":112},{"text":17245},[17246,17250,17267,17274,17277,17280,17283,17286,17289],{"type":23,"text":17247,"spans":17248,"direction":26},"Nueva Figuración in Painting",[17249],{"start":156,"end":3256,"type":407},{"type":23,"text":17251,"spans":17252,"direction":26},"Hemenegildo Sábat (Montevideo, 1933–Buenos Aires, 2018) started drawing for print media in the newspaper Acción, in Montevideo, where he met writer Juan Carlos Onetti (Montevideo, 1909–Madrid, 1994), in 1955. This early connection proved influential. Onetti, a central figure of the so-called Generación del 45, belonged to an intellectual group known for their rigorous self-criticism. Their approach varied from a refined sense of humor to a deeply pious pessimism. Mario Benedetti (Montevideo, 1920–2009), another member of this cohort, published El país de la cola de paja (1960), a satire that critiqued Uruguayan idiosyncrasies and, more importantly, served as a cautionary tale about the crisis facing “welfare society,” which symbolized Uruguay’s historical cycle from 1920 to 1960. The emergence of this critical attitude formed a cultural link between that group of writers and the artists who were adopting a new form of figuration in the visual arts.Ángel Rama, La Generación Crítica: 1939-1969 (Montevideo: Arca, 1972).",[17253,17255,17258,17262,17264],{"start":17254,"end":4688,"type":112},105,{"start":17256,"end":17257,"type":112},550,576,{"start":17259,"end":17260,"type":158,"data":17261},962,1032,{"label":12624},{"start":12849,"end":17263,"type":112},995,{"start":17265,"end":17266,"type":112},997,1006,{"type":23,"text":17268,"spans":17269,"direction":26},"A series of oil paintings by Sábat from 1962 represents one of the earliest visual manifestos of Nueva Figuración. These works focus on the representation of an embryonic subject that verges on the monstrous. In 1960, on the occasion of Sábat’s first exhibition, an art critic said: “Sábat is able to convey … that pathetic expressionist impetus of his temperament … arising from a dramatic confrontation with the world, a sense of reality’s absurdity, a singular interpretation of human gestures and attitudes …”Celina Rolleri, “Dibujos y óleos de Sábat,” Marcha (Montevideo), July 29, 1960, 15.",[17270,17273],{"start":8514,"end":17271,"type":158,"data":17272},596,{"label":12624},{"start":12643,"end":9906,"type":112},{"type":23,"text":17275,"spans":17276,"direction":26},"Since 1963, Sábat created works that featured an accumulation of faces and bodies, shifting his satirical lens to the whole collective body (fig. 1). This approach would be later adopted by Heber Rolandi (b. Montevideo, 1936) and Jorge Páez Vilaró (Montevideo, 1922–1994). Páez joined Informalismo in the early 1960s, closing its cycle with the incorporation of anthropomorphic representations to the surface. Around 1964, he painted heterogeneous sets of facemasks as an ironic characterization of mass society, particularly targeting the collectives ensnared within political parties (fig. 2). While some of his works appear to align with Pop art, they simultaneously diverge from this movement and seem, in part, to draw closer to the legacies of CoBrA. Páez Vilaró emphasizes expressionist patterns in his depictions of tango and slum scenes, where the dramatic aspects of social marginality are diluted within the folkloric and festive nature of the scenes portrayed (figs. 3 and 4). ",[],{"type":23,"text":17278,"spans":17279,"direction":26},"Since the 1950s, metropolitan avant-garde movements such as Pop art and Op art, which focused on the study of optical effects and the iconic representation of object-commodities, influenced Nueva Figuración through formal borrowings. However, these influences did not change the strong expressionist drive or the poetic-metaphysical concerns prevalent among most of these Uruguayan artists. A key influence for these artists, whether conscious or not, was the wandering existentialist ghost (in its Heideggerian form, and later in Sartrean variations) that was haunting the local intellectual milieu throughout the 1950s and much of the 1960s, creating an atmosphere where it intersected with the demanding social violence of the period. In such context, artists combined fantasy and dreams with the provocations, at the same time joyful and angry, of the grotesque. This was related, on the one hand, with the sarcastic gestures of 1960s youth culture, epitomized by the deformed little men John Lennon drew and by Peter Blake’s psychedelic images, and on the other hand, the rawness of Magical Realist Latin American literature. ",[],{"type":23,"text":17281,"spans":17282,"direction":26},"Ruisdael Suárez (Montevideo, 1929–2004) and Ernesto Cristiani (Montevideo, 1928–1989) were multifaceted artists who frequently exhibited together, showcasing their work across various mediums including drawings, paintings, engravings, and large-format objects. Critics from their era and later have broadly categorized Ruisdael Suárez and Ernesto Cristiani as “Pop artists,” often viewing them as derivatives of the North American trend (figs. 5 and 6). However, it must be noted that while their works display formal elements of Pop art, the settings in which the human figures are depicted emit a disturbing undertone that marks a fundamental distancing from this trend. Cristiani’s series of preoccupied faces (fig. 7) resembling pieces of wax, carry a metaphysical aura that becomes more pronounced when these faces are grouped in an abstract space. Suárez, despite working more within the formal boundaries of Pop art, employs Surrealist metaphors that occasionally suggest social themes (fig. 8). Towards the end of the 1970s, these artists favored a dreamlike style of painting, a trend also embraced by other painters like Manuel Espínola Gómez (Solís de Mataojo, Uruguay, 1921–Montevideo, 2003). While Espínola Gómez shared the younger drafters’ enraged attitude, by the late 1970s he had begun creating a series where the human figure transitioned into a Surrealist atmosphere (fig. 11). ",[],{"type":23,"text":17284,"spans":17285,"direction":26},"During this period, the pursuit of a poetic encoding in images was connected to a burgeoning interest in linguistic matters among visual artists. This interest was fueled by the spread of recent publications on semiotics, structuralism, and conceptualism, particularly in Buenos Aires. The opening of the Centro de Arte y Comunicación (CAYC) in 1969 played a pivotal role in promoting the use of new resources for an art of ideas, bringing together artists from Argentina and several other Latin American countries. ",[],{"type":23,"text":17287,"spans":17288,"direction":26},"One of the Uruguayan artists invited to CAYC was Haroldo González (b. Montevideo, 1941) who, besides creating drawings and audiovisual works, made paintings that resonated with the final stage of Nueva Figuración, when this tendency was beginning to diverge in various directions toward end of the 1970s (fig. 12). ",[],{"type":23,"text":17290,"spans":17291,"direction":26},"González explored formal analogies between human body parts and mechanical objects, leading to a metamorphosis of the body and its transformation into a machine (fig. 13). ",[],"double_column_content$f6bb36f6-2bae-493c-9f54-be2091616b12",{"variation":101,"version":102,"items":17294,"primary":17349,"id":17427,"slice_type":12567,"slice_label":7},[17295,17308,17322,17336],{"image":17296,"image_caption":17303},{"dimensions":17297,"alt":17299,"copyright":7,"url":17300,"id":17301,"edit":17302},{"width":15457,"height":17298},1535,"Drawing of an animal-headed man holding a large-scale hand","https://images.prismic.io/islaa/ZliFTqWtHYXtT75O_14.jpg?auto=format,compress","ZliFTqWtHYXtT75O",{"x":156,"y":156,"zoom":172,"background":173},[17304],{"type":23,"text":17305,"spans":17306,"direction":26},"Fig. 14. Luis Camnitzer, Untitled, 1963. Ink on paper, 11 13/16 × 7 7/8 in. (30 × 20 cm)",[17307],{"start":2681,"end":2547,"type":112},{"image":17309,"image_caption":17317},{"dimensions":17310,"alt":17313,"copyright":7,"url":17314,"id":17315,"edit":17316},{"width":17311,"height":17312},1594,1232,"Drawing of a psychic","https://images.prismic.io/islaa/ZliFWKWtHYXtT75Q_15.jpg?auto=format,compress","ZliFWKWtHYXtT75Q",{"x":156,"y":156,"zoom":172,"background":173},[17318],{"type":23,"text":17319,"spans":17320,"direction":26},"Fig. 15. Luis Camnitzer, Untitled, 1963. Ink on paper, 7 7/8 × 11 13/16 in. (20 × 30 cm)",[17321],{"start":2681,"end":2547,"type":112},{"image":17323,"image_caption":17331},{"dimensions":17324,"alt":17327,"copyright":7,"url":17328,"id":17329,"edit":17330},{"width":17325,"height":17326},2597,3250,"Drawing of a beast","https://images.prismic.io/islaa/ZliFWaWtHYXtT75R_16.jpg?auto=format,compress","ZliFWaWtHYXtT75R",{"x":156,"y":156,"zoom":172,"background":173},[17332],{"type":23,"text":17333,"spans":17334,"direction":26},"Fig. 16. Luis Camnitzer, Untitled, 1969. Ink on paper, 11 × 8 11/16 in. (28 × 22 cm). Luis Camnitzer Archive",[17335],{"start":2681,"end":2547,"type":112},{"image":17337,"image_caption":17344},{"dimensions":17338,"alt":17340,"copyright":7,"url":17341,"id":17342,"edit":17343},{"width":17339,"height":17326},2552,"Drawing of a stack of heads","https://images.prismic.io/islaa/ZliFZ6WtHYXtT75V_17.jpg?auto=format,compress","ZliFZ6WtHYXtT75V",{"x":156,"y":156,"zoom":172,"background":173},[17345],{"type":23,"text":17346,"spans":17347,"direction":26},"Fig. 17. Luis Camnitzer, Untitled, 1969. Ink on paper, 11 × 8 11/16 in. (28 × 22 cm). Luis Camnitzer Archive",[17348],{"start":2681,"end":2547,"type":112},{"text":17350},[17351,17356,17360,17363,17379,17384,17387,17390,17396,17402,17414,17417,17420,17423],{"type":23,"text":17352,"spans":17353,"direction":26},"Ink drawings were the typical medium for illustrators working in print media throughout the 1960s, while xylography had been relevant in left-wing political media in the 1930s and 1940s, gaining momentum in Uruguay with the founding of the Club de Grabado in Montevideo in 1953. ",[17354],{"start":156,"end":5615,"type":158,"data":17355},{"label":160},{"type":23,"text":17357,"spans":17358,"direction":26},"Nueva Figuración in the Graphic Arts",[17359],{"start":156,"end":983,"type":407},{"type":23,"text":17361,"spans":17362,"direction":26},"Graphic artists engaged in Nueva Figuración primarily utilized two key techniques: wood or linoleum engraving, and ink drawing with the “rapidograph.” Additionally, artists like Hermenegildo Sábat and Alejandro Casares (Montevideo, 1942–Marindia, Uruguay, 2020) also employed an inked bamboo cane. These techniques were prevalent due to their ability to allow direct action on the medium, yielding almost immediate results. Ink drawings were the typical medium for illustrators working in print media throughout the 1960s, while xylography had been relevant in left-wing political media in the 1930s and 1940s, gaining momentum in Uruguay with the founding of the Club de Grabado in Montevideo in 1953. ",[],{"type":23,"text":17364,"spans":17365,"direction":26},"In 1963, after completing his Guggenheim Foundation grant at the Pratt Institute in New York, Luis Camnitzer (b. Lübeck, Germany, 1937) returned to Montevideo. During an interview with Marcha, he shared anecdotes from his time as an engraving artist in New York: “At Galería Sudamericana, I showed fat women, old men, object-women, and other little monsters one encounters on the streets … The curator from the Metropolitan Museum purchased my Feto con barba.”“Camnitzer de vuelta,” Marcha (Montevideo), April 19, 1963, 9. The diverse and extensive fauna Luis Camnitzer encountered in New York inspired him to push the boundaries of absurdity in his graphic illustrations, which he was already producing for Marcha in Montevideo (consider Feto con barba [Fetus with Beard] as an example) (figs. 14 and 15). These “little monsters,” drawn in ink, echoed the sensibilities of Agustín Alamán (Tabernas de Isuela, Spain, 1921–Madrid, 1995. He spent many years in Montevideo), who incorporated humanoids into his strange matter paintings, and Hermenegildo Sábat, known for his portrayals of strange androids. ",[17366,17367,17368,17372,17374,17377],{"start":9173,"end":10593,"type":112},{"start":9163,"end":13225,"type":112},{"start":17369,"end":17370,"type":158,"data":17371},460,522,{"label":12624},{"start":17373,"end":12344,"type":112},483,{"start":17375,"end":17376,"type":112},708,714,{"start":5292,"end":17378,"type":112},753,{"type":23,"text":17380,"spans":17381,"direction":26},"By the end of the 1960s, the virtuous dose of humor evident in Camnitzer’s early drawings evolved into gelatinous faces that appeared to parody the conservative bourgeois subject during revolutionary times (figs. 16 and 17). Asked about his possible links with the Argentine group, Camnitzer says: “My relationship with Yuyo [Felipe Noé] didn’t begin until 1964, when we shared an apartment in New York. But his influence was mostly intellectual and theoretical.”Correspondence with the author, February 2017.",[17382],{"start":9564,"end":5150,"type":158,"data":17383},{"label":12624},{"type":23,"text":17385,"spans":17386,"direction":26},"Domingo Ferreira (b. Tacuarembó, Uruguay, 1940), a student of Luis Camnitzer at the Escuela Nacional de Bellas Artes in Montevideo, started to show his work as illustrator for different periodicals in 1963. His biting critique of the bureaucratic conformist (figs. 18 and 19), reflecting the concept of the “one dimensional man” that Herbert Marcuse defined in 1954—which gained significant prominence in the following decade—was a major influence on the corrosive tendencies within the Nueva Figuración. ",[],{"type":23,"text":17388,"spans":17389,"direction":26},"In mid 1964, Nelson Ramos (Dolores, Uruguay, 1932–Montevideo, 2006) visited Jorge de la Vega’s workshop in Buenos Aires alongside Jorge Páez Vilaró. This visit strengthened their ties to the Argentine group. An alum of the Escuela Nacional de Bellas Artes in Montevideo, Ramos experimented with Informalist painting and, in the early 1960s, created anthropomorphic silhouettes using grease pencil, set against a backdrop of small signs characterized by energetic and scattered strokes. The works were Neofigurative drawings, but they closely aligned with sign graphisms that belonged to an abstract tendency. ",[],{"type":23,"text":17391,"spans":17392,"direction":26},"Jorge Páez Vilaró also stood out as a draftsman—he was a friend and admirer of the Mexican Luis Cuevas. He achieved his greatest versatility in this medium between 1966 and 1970, during a period of expansion for Neofigurative drawing, which an art critic famously dubbed “Dibujazo.”María Luisa Torrens, “El Dibujazo,” El País, (Montevideo), December 31, 1972, 24. Although he adopted a grotesque style, he steered clear of the rage that typified the younger members of this movement. His drawings are instead rendered in a pleasantly mocking spirit, capturing with gentle humor various human prototypes and aspects of urban folklore: tango, cafes, and port suburbs (figs. 21 and 22).",[17393,17395],{"start":1478,"end":16656,"type":158,"data":17394},{"label":12624},{"start":9782,"end":11864,"type":112},{"type":23,"text":17397,"spans":17398,"direction":26},"In 1965, one of his earliest drawing exhibitions, Antropocalipsis de la Homocoteca (Homocoteca Anthropocalypse), marked a humorous departure from Sartre’s existential angst. Featuring circuses, hells, kennels, and carnival parades, the exhibition composed a theatrical frieze that turned the concept of the apocalypse into something laughable. The same humor infused Estampas de la suburbia montevideana (Stamps of Montevideo’s Suburbs, 1967) and Estampones ciudadanos (Citizen Stamps, 1968), where drawings elevated Río de la Plata identity myths into a vivid chronicle of mural proportions (fig. 23). ",[17399,17400,17401],{"start":180,"end":7192,"type":112},{"start":6978,"end":1462,"type":112},{"start":10786,"end":13226,"type":112},{"type":23,"text":17403,"spans":17404,"direction":26},"In 1967, one of the most prominent Uruguayan writers described the situation as follows: “The disintegration of liberal society, which had been Uruguay’s proudest creation, has only accelerated throughout 1967. It appears we are witnessing—and will continue to suffer from—a vertiginous process: beneath the masks that fall daily, we encounter faces twisted in sordid rictus, marked by pain, and prone to violent gestures …”Ángel Rama, “Vida Cultural 1967,” Marcha (Montevideo), December 29, 1967, 20. This paragraph seems to describe the drawings of some of the young artists that emerged that same year. In August, Hugo Alíes (Santa Fe, Argentina, 1945–Montevideo, 2019) showed his drawings at Galería U, under the direction of Enrique Gómez (fig. 24). Alíes’s work oscillated between lyrical restraint (fig. 25) and dramatic outbursts (fig. 26). But it also exuded, between these two extremes, a playful irony (fig. 27). These drawings confirmed what the critics of the time defined as “a new generation of drafters that caught the unsuspecting off guard … with their anguished or poetic worlds … [with] the incisiveness of their social critique, or the richness of their dreamlike universes.”“Hugo Alíes,” Verdad, (Montevideo), September 11, 1967, 10. The article characterized Alíes’s drawings as “a rebellion against human form,” “a distortion that verges on the grotesque,” and “a sensuality of lurid appearance.” These traits could be attributed to nearly all members of the Dibujazo. ",[17405,17408,17409,17413],{"start":412,"end":17406,"type":158,"data":17407},501,{"label":12624},{"start":13225,"end":5954,"type":112},{"start":17410,"end":17411,"type":158,"data":17412},1196,1255,{"label":12624},{"start":3296,"end":8958,"type":112},{"type":23,"text":17415,"spans":17416,"direction":26},"Eduardo Fornasari (born in Montevideo, 1946), one of the earliest and most notable members of this movement, began exhibiting his work in late 1966. However, his 1968 exhibition established him, alongside Alíes, at the forefront of figurative expressionism. He was the first artist to directly address social violence in his drawings (fig. 28), where large black stains mediate between different scenes, facilitating representations at various scales (fig. 29). His work exudes a slow temporality, and emanates pleasure in meticulously crafted details, creating scatological landscapes where the marginalized elements of affluent society and visceral exposures take center stage. The morbid fascination with viscera is also evident in the works of Nelbia Romero (San Borja del Yí, Uruguay, 1938–Montevideo, 2015) (fig. 30) and Marta Restuccia (b. Montevideo, 1937) (fig. 31). These two artists began exhibiting their works around 1970, with their art making clear allusions to opulent carnalities and organic tissues. Their pieces reflect a tortuous view of the human condition, capturing both  vitality and eroticism, as well as lurking violence and hatred. ",[],{"type":23,"text":17418,"spans":17419,"direction":26},"This dichotomy gave rise, on occasions, to a gloomy human figure appearing not only in drawings but also in woodcuts, such as those of Carlos Fossatti (Paysandú, Uruguay, 1928–Toulouse, France, 1981), who created haunting atmospheres and characters (fig. 32). ",[],{"type":23,"text":17421,"spans":17422,"direction":26},"Although it featured a sordid style of figuration, the Dibujazo’s “bestiary” occasionally incorporated lyrical intentions, where the human figure still carried erotic and vital promises, even against a backdrop of underlying sarcasm (figs. 33 and 34). ",[],{"type":23,"text":17424,"spans":17425,"direction":26},"In 1968, the year of the first student deaths due to police repression, the printmaker Leonilda González (Minuano, Uruguay, 1923–Montevideo, 2017) created a series titled Novias revolucionarias (Revolutionary Brides), where she transformed the traditional lyricism of the female image into a caricatured expressionism infused with deliberate political content (fig. 35). Further research is warranted, beyond the limited scope of this study, to explore the various conceptions of the feminist gaze among artists associated with the Nueva Figuración, at a historical moment when class issues often overshadowed gender issues.",[17426],{"start":4351,"end":4353,"type":112},"double_column_content$93608983-9453-494a-909f-ce9ca00ad696",{"variation":101,"version":102,"items":17429,"primary":17430,"id":17437,"slice_type":147,"slice_label":7},[],{"text":17431},[17432],{"type":23,"text":17433,"spans":17434,"direction":26},"Although it featured a sordid style of figuration, the Dibujazo’s “bestiary” occasionally incorporated lyrical intentions, where the human figure still carried erotic and vital promises, even against a backdrop of underlying sarcasm.",[17435],{"start":156,"end":1475,"type":158,"data":17436},{"label":160},"single_column_content$7a4cfb23-8431-4927-bc65-890d0d4ecbf0",{"variation":101,"version":102,"items":17439,"primary":17676,"id":17677,"slice_type":243,"slice_label":7},[17440,17453,17467,17481,17495,17508,17520,17531,17544,17558,17571,17584,17596,17609,17621,17635,17649,17663],{"image":17441,"image_caption":17448},{"dimensions":17442,"alt":17444,"copyright":7,"url":17445,"id":17446,"edit":17447},{"width":263,"height":17443},1401,"Drawing of a head-less bust","https://images.prismic.io/islaa/ZliFZaWtHYXtT75U_18.jpg?auto=format,compress?auto=compress,format","ZliFZaWtHYXtT75U",{"x":156,"y":156,"zoom":172,"background":915},[17449],{"type":23,"text":17450,"spans":17451},"Fig. 18. Domingo Ferreira, Untitled, 1969. Ink on paper, 7 7/8 × 6 11/16 in. (20 × 17 cm). Domingo Ferreira Archive ",[17452],{"start":402,"end":8615,"type":112},{"image":17454,"image_caption":17462},{"dimensions":17455,"alt":17458,"copyright":7,"url":17459,"id":17460,"edit":17461},{"width":17456,"height":17457},1181,1337,"Drawing of several heads","https://images.prismic.io/islaa/ZliFdaWtHYXtT75X_19.jpg?auto=format,compress?auto=compress,format","ZliFdaWtHYXtT75X",{"x":156,"y":156,"zoom":172,"background":915},[17463],{"type":23,"text":17464,"spans":17465},"Fig. 19. Domingo Ferreira, Untitled, 1972. Ink on paper, 15 7/8 × 13 5/8 in. (39.7 × 34 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17466],{"start":402,"end":8615,"type":112},{"image":17468,"image_caption":17476},{"dimensions":17469,"alt":17472,"copyright":7,"url":17473,"id":17474,"edit":17475},{"width":17470,"height":17471},4443,2194,"Drawing of several beasts","https://images.prismic.io/islaa/ZliFeKWtHYXtT75Y_20.jpg?auto=format,compress?auto=compress,format","ZliFeKWtHYXtT75Y",{"x":156,"y":156,"zoom":172,"background":915},[17477],{"type":23,"text":17478,"spans":17479},"Fig. 20. Nelson Ramos, Untitled, 1964. Grease pencil and ink on paper, 23 ½ × 38 in. (59 × 95 cm)",[17480],{"start":2546,"end":2711,"type":112},{"image":17482,"image_caption":17490},{"dimensions":17483,"alt":17486,"copyright":7,"url":17487,"id":17488,"edit":17489},{"width":17484,"height":17485},1261,2005,"Drawing of a lady","https://images.prismic.io/islaa/ZliFmaWtHYXtT75h_21.jpg?auto=format,compress?auto=compress,format","ZliFmaWtHYXtT75h",{"x":156,"y":156,"zoom":172,"background":915},[17491],{"type":23,"text":17492,"spans":17493},"Fig. 21. Jorge Páez Vilaró, Retrato de una dama especial (Portrait of a Special Lady), 1968. Ink on paper, 32 1/4 × 20 1/2 in. (82 × 52 cm). Museo Nacional de Artes Visuales, Montevideo",[17494],{"start":3256,"end":6419,"type":112},{"image":17496,"image_caption":17503},{"dimensions":17497,"alt":17499,"copyright":7,"url":17500,"id":17501,"edit":17502},{"width":17498,"height":4840},1327,"Drawing of a group of people","https://images.prismic.io/islaa/ZliFmaWtHYXtT75f_22.jpg?auto=format,compress?auto=compress,format","ZliFmaWtHYXtT75f",{"x":156,"y":156,"zoom":172,"background":915},[17504],{"type":23,"text":17505,"spans":17506},"Fig. 22. Jorge Páez Vilaró, Tugurio del puerto (Port Slum), 1967. Ink on paper, 45 1/4 × 31 ½ in. (115 × 80 cm). Museo Nacional de Artes Visuales, Montevideo",[17507],{"start":3256,"end":6070,"type":112},{"image":17509,"image_caption":17516},{"dimensions":17510,"alt":17512,"copyright":7,"url":17513,"id":17514,"edit":17515},{"width":17511,"height":17105},1630,"Black-and-white photograph of a man in front of a painting","https://images.prismic.io/islaa/ZliFpKWtHYXtT75k_23.jpg?auto=format,compress?auto=compress,format","ZliFpKWtHYXtT75k",{"x":156,"y":156,"zoom":172,"background":915},[17517],{"type":23,"text":17518,"spans":17519},"Fig. 23. Jorge Páez Vilaró, Montevideo, May 1968. Photograph by Alfredo Testoni, Museo Nacional de Artes Visuales collection, Montevideo",[],{"image":17521,"image_caption":17527},{"dimensions":17522,"alt":17523,"copyright":7,"url":17524,"id":17525,"edit":17526},{"width":1868,"height":17105},"Black-and-white photograph of two men discussing a painting","https://images.prismic.io/islaa/ZliFpKWtHYXtT75j_24.jpg?auto=format,compress?auto=compress,format","ZliFpKWtHYXtT75j",{"x":156,"y":156,"zoom":172,"background":915},[17528],{"type":23,"text":17529,"spans":17530,"direction":26},"Fig. 24. Enrique Gómez, marchand of Galería U (left) with Hugo Alíes (right) at Galería U, 1967. Galería U Archive, Montevideo",[],{"image":17532,"image_caption":17539},{"dimensions":17533,"alt":17535,"copyright":7,"url":17536,"id":17537,"edit":17538},{"width":17534,"height":12754},1284,"Drawing of a horse on a carriage","https://images.prismic.io/islaa/ZliGM6WtHYXtT753_25.jpg?auto=format,compress?auto=compress,format","ZliGM6WtHYXtT753",{"x":156,"y":156,"zoom":172,"background":915},[17540],{"type":23,"text":17541,"spans":17542},"Fig. 25. Hugo Alíes, Untitled, 1968. Ink on paper, 17 3/4 × 14 15/16 in. (45 × 38 cm). Courtesy of Sebastián Alíes ",[17543],{"start":179,"end":1013,"type":112},{"image":17545,"image_caption":17552},{"dimensions":17546,"alt":17548,"copyright":7,"url":17549,"id":17550,"edit":17551},{"width":17547,"height":17105},1317,"Print of a bust with its mouth open, a letter A, and arm holding a pen, and a shoe","https://images.prismic.io/islaa/ZliGM6WtHYXtT754_26.jpg?auto=format,compress?auto=compress,format","ZliGM6WtHYXtT754",{"x":156,"y":156,"zoom":172,"background":915},[17553],{"type":23,"text":17554,"spans":17555},"Fig. 26. Hugo Alíes, Untitled, 1967. Woodcut on paper, 1967. 4 1/3 × 4 1/3 in. (11 × 11 cm). Cover for Poesía checa (Montevideo: Aquí Poesía, 1967) ",[17556,17557],{"start":179,"end":1013,"type":112},{"start":10772,"end":4779,"type":112},{"image":17559,"image_caption":17566},{"dimensions":17560,"alt":17562,"copyright":7,"url":17563,"id":17564,"edit":17565},{"width":1897,"height":17561},1606,"Drawing of a man sitting at a desk","https://images.prismic.io/islaa/ZliGPKWtHYXtT757_27.jpg?auto=format,compress?auto=compress,format","ZliGPKWtHYXtT757",{"x":156,"y":156,"zoom":172,"background":915},[17567],{"type":23,"text":17568,"spans":17569,"direction":26},"Fig. 27. Hugo Alíes, Untitled, 1971. Ink on paper, 20 1/16 × 18 ½ in. (51 × 47 cm). Courtesy Sebastián Alíes",[17570],{"start":179,"end":1013,"type":112},{"image":17572,"image_caption":17579},{"dimensions":17573,"alt":17575,"copyright":7,"url":17576,"id":17577,"edit":17578},{"width":17574,"height":3211},1985,"Drawing of an grotesque figure","https://images.prismic.io/islaa/ZliGPKWtHYXtT758_28.jpg?auto=format,compress?auto=compress,format","ZliGPKWtHYXtT758",{"x":156,"y":156,"zoom":172,"background":915},[17580],{"type":23,"text":17581,"spans":17582},"Fig. 28. Eduardo Fornasari, Untitled, 1970. Ink on paper, 20 7/8 × 25 9/1620 7/8 × 25 9/16 in. (53 × 65 cm) ",[17583],{"start":3256,"end":983,"type":112},{"image":17585,"image_caption":17591},{"dimensions":17586,"alt":17575,"copyright":7,"url":17588,"id":17589,"edit":17590},{"width":17587,"height":8075},1954,"https://images.prismic.io/islaa/ZliGRaWtHYXtT76B_29.jpg?auto=format,compress?auto=compress,format","ZliGRaWtHYXtT76B",{"x":156,"y":156,"zoom":172,"background":915},[17592],{"type":23,"text":17593,"spans":17594,"direction":26},"Fig. 29. Eduardo Fornasari, Untitled, 1970. Ink on paper, 20 7/8 × 25 9/16 in. (53 × 65 cm). Courtesy  the artist",[17595],{"start":3256,"end":983,"type":112},{"image":17597,"image_caption":17604},{"dimensions":17598,"alt":17575,"copyright":7,"url":17601,"id":17602,"edit":17603},{"width":17599,"height":17600},1592,2406,"https://images.prismic.io/islaa/ZliGRqWtHYXtT76C_30.jpg?auto=format,compress?auto=compress,format","ZliGRqWtHYXtT76C",{"x":156,"y":156,"zoom":172,"background":915},[17605],{"type":23,"text":17606,"spans":17607,"direction":26},"Fig. 30. Nelbia Romero, Untitled, 1974. Ink on paper, 20 × 13 3/4 in. (50 × 35 cm). Courtesy  Teresita Romero  ",[17608],{"start":628,"end":629,"type":112},{"image":17610,"image_caption":17616},{"dimensions":17611,"alt":17575,"copyright":7,"url":17613,"id":17614,"edit":17615},{"width":17612,"height":10809},1360,"https://images.prismic.io/islaa/ZliGY6WtHYXtT76H_31.jpg?auto=format,compress?auto=compress,format","ZliGY6WtHYXtT76H",{"x":156,"y":156,"zoom":172,"background":915},[17617],{"type":23,"text":17618,"spans":17619},"Fig. 31. Marta Restuccia, Untitled, 1975. Ink on paper, 19 1/16 × 17 5/16 in. (48.5 × 44 cm). Marta Restuccia Collection",[17620],{"start":430,"end":1878,"type":112},{"image":17622,"image_caption":17630},{"dimensions":17623,"alt":17626,"copyright":7,"url":17627,"id":17628,"edit":17629},{"width":17624,"height":17625},1651,1245,"Print of people with umbrellas","https://images.prismic.io/islaa/ZliGYqWtHYXtT76G_32.jpg?auto=format,compress?auto=compress,format","ZliGYqWtHYXtT76G",{"x":156,"y":156,"zoom":172,"background":915},[17631],{"type":23,"text":17632,"spans":17633},"Fig. 32. Carlos Fossatti, Escarramán, rufianes y la muerte (Escarraman, Ruffians, and Death), 1966. Woodcut, 70 1/16 × 93 11/16 in. (178 × 238 cm). Museo Nacional de Artes Visuales, Montevideo",[17634],{"start":430,"end":1892,"type":112},{"image":17636,"image_caption":17644},{"dimensions":17637,"alt":17640,"copyright":7,"url":17641,"id":17642,"edit":17643},{"width":17638,"height":17639},1814,2466,"Drawing of a woman wearing a large shoe","https://images.prismic.io/islaa/ZliGbKWtHYXtT76I_33.jpg?auto=format,compress?auto=compress,format","ZliGbKWtHYXtT76I",{"x":156,"y":156,"zoom":172,"background":915},[17645],{"type":23,"text":17646,"spans":17647,"direction":26},"Fig. 33. Álvaro Armesto, Untitled, 1974. Ink on paper, 15 3/4 × 11 7/16 in. (40 × 29 cm). Club de Grabado de Montevideo Archive ",[17648],{"start":2681,"end":2547,"type":112},{"image":17650,"image_caption":17658},{"dimensions":17651,"alt":17654,"copyright":7,"url":17655,"id":17656,"edit":17657},{"width":17652,"height":17653},1325,1722,"Drawing of a naked figure","https://images.prismic.io/islaa/ZliGbKWtHYXtT76J_34.jpg?auto=format,compress?auto=compress,format","ZliGbKWtHYXtT76J",{"x":156,"y":156,"zoom":172,"background":915},[17659],{"type":23,"text":17660,"spans":17661,"direction":26},"Fig. 34. Hugo Alíes, Untitled, 1969. Ink on paper, 23 1/4 × 16 1/2 in. (59 × 42 cm). Courtesy  Sebastián Alíes ",[17662],{"start":179,"end":1013,"type":112},{"image":17664,"image_caption":17671},{"dimensions":17665,"alt":17667,"copyright":7,"url":17668,"id":17669,"edit":17670},{"width":12701,"height":17666},1292,"Print of sad-eyed people","https://images.prismic.io/islaa/ZliGeaWtHYXtT76M_35.jpg?auto=format,compress?auto=compress,format","ZliGeaWtHYXtT76M",{"x":156,"y":156,"zoom":172,"background":915},[17672],{"type":23,"text":17673,"spans":17674},"Fig. 35. Leonilda González, Novias revolucionarias III (Revolutionary Brides III), 1968. Woodcut, 22 1/16 × 24 7/16 in. (56 × 62 cm). Museo Nacional de Artes Visuales, Montevideo",[17675],{"start":3256,"end":406,"type":112},{},"image_carousel$dd07c6de-e8c5-4e0f-8c6e-f09394fce355",{"variation":101,"version":102,"items":17679,"primary":17735,"id":17791,"slice_type":12567,"slice_label":7},[17680,17694,17707,17721],{"image":17681,"image_caption":17689},{"dimensions":17682,"alt":17685,"copyright":7,"url":17686,"id":17687,"edit":17688},{"width":17683,"height":17684},2628,2933,"Drawing of a clown","https://images.prismic.io/islaa/ZliGeaWtHYXtT76N_36.jpg?auto=format,compress?auto=compress,format","ZliGeaWtHYXtT76N",{"x":156,"y":156,"zoom":172,"background":915},[17690],{"type":23,"text":17691,"spans":17692},"Fig. 36. Fernando Álvarez Cozzi, Los payasos de siempre (The Usual Clowns), 1974. Ink on paper, 18 ½ × 16 5/16 in. (47 × 41.5 cm). Courtesy of the artist ",[17693],{"start":2547,"end":3635,"type":112},{"image":17695,"image_caption":17702},{"dimensions":17696,"alt":17698,"copyright":7,"url":17699,"id":17700,"edit":17701},{"width":1310,"height":17697},1664,"Drawing of a bearded man","https://images.prismic.io/islaa/ZliGf6WtHYXtT76Q_37.jpg?auto=format,compress?auto=compress,format","ZliGf6WtHYXtT76Q",{"x":156,"y":156,"zoom":172,"background":915},[17703],{"type":23,"text":17704,"spans":17705},"Fig. 37. Álvaro Armesto, Untitled, 1973. Ink on paper, 26 3/8 × 20 in. (66 × 50 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17706],{"start":2681,"end":2547,"type":112},{"image":17708,"image_caption":17716},{"dimensions":17709,"alt":17712,"copyright":7,"url":17713,"id":17714,"edit":17715},{"width":17710,"height":17711},3949,2801,"Drawing of two pairs of scissors","https://images.prismic.io/islaa/ZliGgKWtHYXtT76R_38.jpg?auto=format,compress?auto=compress,format","ZliGgKWtHYXtT76R",{"x":156,"y":156,"zoom":172,"background":915},[17717],{"type":23,"text":17718,"spans":17719},"Fig. 38. Haroldo González, Untitled, 1971. Ink on paper, 20 × 25 9/16 in. (50 × 65 cm). Courtesy of the artist ",[17720],{"start":402,"end":8615,"type":112},{"image":17722,"image_caption":17729},{"dimensions":17723,"alt":17725,"copyright":7,"url":17726,"id":17727,"edit":17728},{"width":13239,"height":17724},1202,"Drawing of a dollar bill, a coin, and two museum postcards","https://images.prismic.io/islaa/ZliGiqWtHYXtT76U_39.jpg?auto=format,compress?auto=compress,format","ZliGiqWtHYXtT76U",{"x":156,"y":156,"zoom":172,"background":915},[17730],{"type":23,"text":17731,"spans":17732},"Fig. 39. Jorge Satut, Untitled, from the series Los homenajes (Tributes), 1974. Ink on paper, 10 1/4 × 13 3/8 in. (25.6 × 33 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17733,17734],{"start":2610,"end":144,"type":112},{"start":937,"end":5699,"type":112},{"text":17736},[17737,17750,17760,17763,17766,17769,17772,17775,17778,17781,17788],{"type":23,"text":17738,"spans":17739,"direction":26},"Introspection, a hallmark of painterly Informalism, was also evident in Dibujazo. But the latter blended the psychological introspection with an ethical and critical dimension, a challenging stance emblematic of the period. In this vein, Fornasari stated: “Before, I wanted to unveil men’s psychological identity through a raw portrait of what lies under their masks. Now I want to paint them from the outside … The rage that is present in my drawings maybe comes from the impossibility of expressing … the world of contrasts and violence that resides within each of us.”Hugo Gilmet and Gabriel Peluffo, “Generación de dibujantes II,” Marcha (Montevideo), July 28, 1972, 24. Along the same lines, Néstor Canessa (Montevideo, 1944) said: “Little by little, I sought the most complex aspects of the inner world, and everything that is monstrous about our everyday experience … If I draw a head, I must draw it open—I perceive it as formless, I feel it as rotten.”Hugo Gilmet and Gabriel Peluffo, “Generación de dibujantes I,” Marcha (Montevideo), July 14, 1972, 26.",[17740,17742,17743,17747],{"start":12352,"end":12650,"type":158,"data":17741},{"label":12624},{"start":12927,"end":12356,"type":112},{"start":17744,"end":17745,"type":158,"data":17746},961,1063,{"label":12624},{"start":17748,"end":17749,"type":112},1024,1030,{"type":23,"text":17751,"spans":17752,"direction":26},"The opinions expressed by the drafters coincided in explaining that the choice of drawing was motivated by its immediacy. “If I don’t immediately put an idea on paper, to me it becomes corrupted,” said Heber Marchisio (Montevideo, 1943). [Gilmet and Peluffo, 25.] Jorge Satut (Montevideo, 1939–2013), confirmed this view: “Drawing is the most direct source of expression, when stimuli are so peremptory.” [Gilmet and Peluffo, 25.] This sense of urgency was fundamentally linked to a social context whose inevitable exhaustion appeared imminent in 1970: “There was an inexorable feeling that we needed to adopt forms of participation and engagement… which then pushed us to move faster than our own feet could carry us.”Ana María Araujo and Horacio Tejera, La imaginación al poder (Fundación de Cultura Universitaria, 1988), 107.",[17753,17757],{"start":17754,"end":17755,"type":158,"data":17756},719,828,{"label":12624},{"start":17758,"end":17759,"type":112},756,779,{"type":23,"text":17761,"spans":17762,"direction":26},"Many works by Dibujazo artists display influences from comics, graphic design, advertising, and iconic elements of the culture industry, since the young drafters were avid readers of magazines (fig. 36 and 37). There were also instances in which the reflection on drawing as a language led to an approach to conceptualism, considering this term in a broad sense. Haroldo González’s graphic work, operating with diagrams and ideograms, is an example of this tendency. This is the case of a series of drawings that the artist divides into two hemispheres: an upper one, where the agent of power operates, and a lower one, where the domain over which this power is exerted unfolds (fig. 38). Jorge Satut, through his drawings, reflects on drawing as a form of representation and considers the image market as a means of speculating with the copy. This artist, the only one with hyperrealist intentions within the local Nueva Figuración group, appears to echo Walter Benjamin by representing icons of Western art transformed into commodity-images. However, he achieves this through manual reproducibility (figs. 39 and 40). ",[],{"type":23,"text":17764,"spans":17765,"direction":26},"Despite their varied approaches to experimenting with visual languages, all the Dibujazo artists seemed haunted by a strange and abject element within the social organism, to which they sought to respond. This apocalyptic specter only fully revealed itself with the dismantling of democratic institutions in 1973, followed by years of silence, social disintegration, and collective forgetfulness. This fact led to Dibujazo’s becoming blurred in the cultural map. The year 1980 was a pivotal one for social and political perspectives, when civic and military authoritarianism was defeated through a popular referendum. There began a gradual cultural “coming out,” although there were inhibitions due to the repressive atmosphere within which this opening was paradoxically taking place. Several artists of the Dibujazo cohort continued their practice and bore witness to a shared mood that combined desire and anger, hope and frustration, due to the impossibility of achieving justice. ",[],{"type":23,"text":17767,"spans":17768,"direction":26},"To describe this tendency further, I will return to two artists already mentioned: Hugo Alíes and Domingo Ferreira. While maintaining the graphic poetry that characterizes his work as a journalistic illustrator, Ferreira also delved into the chaotic universe that dominated his generation, a theme that he approached with humor and the passionate outburst typical of a survivor (fig. 41). ",[],{"type":23,"text":17770,"spans":17771,"direction":26},"Alíes, for his part, turned to an expressionist style marked by fleeting and exacerbated lines. The android, emblem of Dibujazo, reappeared here marked by disillusionment and disbelief in the face of a lost future. The graphic narrative unfolding through this artist’s personal trajectory pays homage to a social cycle that began with the critical and irreverent attitudes typical of the 1960s. Twenty years later, it culminated in the raw satire of a collective disillusionment that Alíes directed angrily against himself (figs. 42 and 43). ",[],{"type":23,"text":17773,"spans":17774,"direction":26},"The significant role of alternative galleries and art criticism in shaping the public image of young artists raises the question of whether Dibujazo was an overrated phenomenon, a result of the promotional and circulation avenues that emerged and established themselves in Montevideo during this period. ",[],{"type":23,"text":17776,"spans":17777,"direction":26},"Indeed, the emergence of Nueva Figuración tendencies in drawing and painting coincided with a period characterized by a proliferation of cultural offerings, the institutionalization of visual arts, and the growth of a robust publishing industry that introduced new national writers and artists.",[],{"type":23,"text":17779,"spans":17780,"direction":26},"In November 1962, the Instituto Cultural General Electric of Montevideo, directed by Ángel Kalenberg, opened its doors. In June 1965, the Centro Uruguayo de Promoción Cultural (CUPC) was inaugurated under the direction of the Spaniard Benito Milla—who was also the owner of the Alfa publishing house, founded in 1958—and Enrique Gómez was its director of exhibitions. In 1967, Gómez became director of Galería Alfa and Galería U. In these roles, he not only brought together the youngest avant-garde artists but also became a key figure in promoting and commercializing their works, contributing significantly to the institutionalization of innovative artistic practices, primarily those associated with Nueva Figuración. His efforts transcended national boundaries: through Galería U, he orchestrated over twenty exhibitions in Buenos Aires between 1965 and 1974. Additionally, he played a significant role in organizing exhibitions for Uruguayan artists in the United States, due to his friendships with José Gómez Sicre (director of the OEA’s Departamento de Artes Visuales) and Armando Zegri, director of Galería Sudamericana in New York. ",[],{"type":23,"text":17782,"spans":17783,"direction":26},"Three decades later, Eduardo Fornasari reflected on the Dibujazo phenomenon: “This was an art impelled to occupy a central position with the complicity of the entire cultural system of the time, perhaps before it had achieved the necessary maturity.”Eduardo Fornasari, “Reflexiones sobre el dibujo de los 60,” Relaciones (Montevideo), September 1998, 25. ",[17784,17787],{"start":3454,"end":17785,"type":158,"data":17786},354,{"label":12624},{"start":16654,"end":5607,"type":112},{"type":23,"text":17789,"spans":17790,"direction":26},"This retrospective view of a key protagonist might convey a personal impression that the drafters might have—willingly—submitted to the overarching influence of advertising agents. However, an analysis of the connections between Nueva Figuración and the social, political, and cultural context that gave it significance suggests another hypothesis to explain the prominence of drawing in the artistic scene of the time. In fact, even if its visibility was promoted by emergent institutions, its necessity did not stem from these external demands. It responded to a collective awareness of shifting values and changes in intersubjective relationships, along with the perception of a new and urgent temporality in the social, already tinged with the impatience of history. ",[],"double_column_content$cfb23412-9ed8-4121-bc93-b8094f7bdac7",{"variation":101,"version":102,"items":17793,"primary":17849,"id":17850,"slice_type":243,"slice_label":7},[17794,17808,17822,17836],{"image":17795,"image_caption":17802},{"dimensions":17796,"alt":17798,"copyright":7,"url":17799,"id":17800,"edit":17801},{"width":17456,"height":17797},1695,"Drawing of La Giocconda","https://images.prismic.io/islaa/ZliGi6WtHYXtT76V_40.jpg?auto=format,compress","ZliGi6WtHYXtT76V",{"x":156,"y":156,"zoom":172,"background":173},[17803],{"type":23,"text":17804,"spans":17805,"direction":26},"Fig. 40. Jorge Satut, Untitled, from the series Los homenajes (Tributes), 1974. Ink on paper, 12 ×9 1/2 in. (30 × 23.7 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17806,17807],{"start":2610,"end":144,"type":112},{"start":937,"end":5699,"type":112},{"image":17809,"image_caption":17817},{"dimensions":17810,"alt":17813,"copyright":7,"url":17814,"id":17815,"edit":17816},{"width":17811,"height":17812},4622,3384,"Drawing of grotesque figures","https://images.prismic.io/islaa/ZliGmKWtHYXtT76c_41.jpg?auto=format,compress","ZliGmKWtHYXtT76c",{"x":156,"y":156,"zoom":172,"background":173},[17818],{"type":23,"text":17819,"spans":17820,"direction":26},"Fig. 41. Domingo Ferreira, Entretenimiento para empezar el 89 (Entertainment to Start Off 89), 1988. Ink on paper, 11 27/64 × 15 23/64 in. (29 × 39 cm).",[17821],{"start":402,"end":5699,"type":112},{"image":17823,"image_caption":17831},{"dimensions":17824,"alt":17827,"copyright":7,"url":17828,"id":17829,"edit":17830},{"width":17825,"height":17826},1233,1807,"Watercolor of three faces","https://images.prismic.io/islaa/ZliGlqWtHYXtT76b_42.jpg?auto=format,compress","ZliGlqWtHYXtT76b",{"x":156,"y":156,"zoom":172,"background":173},[17832],{"type":23,"text":17833,"spans":17834,"direction":26},"Fig. 42. Hugo Alíes, Untitled, 1983. Ink and watercolor on paper, 18 1/8 × 12 3/16 in. (46 × 31 cm). Courtesy of Sebastián Alíes",[17835],{"start":179,"end":1013,"type":112},{"image":17837,"image_caption":17844},{"dimensions":17838,"alt":17840,"copyright":7,"url":17841,"id":17842,"edit":17843},{"width":17839,"height":13899},1711,"Watercolor of a skull","https://images.prismic.io/islaa/ZliGoKWtHYXtT76d_43.jpg?auto=format,compress","ZliGoKWtHYXtT76d",{"x":156,"y":156,"zoom":172,"background":173},[17845],{"type":23,"text":17846,"spans":17847,"direction":26},"Fig. 43. Hugo Alíes, Untitled, 1983. Ink and watercolor on paper, 9 1/16 × 11 7/16 in. (23 × 29 cm). Courtesy of Sebastián Alíes",[17848],{"start":179,"end":1013,"type":112},{},"image_carousel$cbe26a84-5587-45e1-b6c6-76d4dc73b427",{},{"dimensions":17853,"alt":17854,"copyright":7,"url":17459,"id":17460,"edit":17855,"Square - Large":17856,"Square - Small":17862,"Vertical - Narrow":17868,"Horizontal ":17874},{"width":17456,"height":17457},"Black-and-white drawing of three grotesque busts",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":17857,"alt":7,"copyright":7,"url":17858,"id":17460,"edit":17859},{"width":260,"height":260},"https://images.prismic.io/islaa/ZliFdaWtHYXtT75X_19.jpg?auto=format,compress?auto=compress,format&rect=0,78,1181,1181&w=1000&h=1000",{"x":156,"y":17860,"zoom":17861,"background":915},-66,0.8467400508044031,{"dimensions":17863,"alt":7,"copyright":7,"url":17864,"id":17460,"edit":17865},{"width":266,"height":266},"https://images.prismic.io/islaa/ZliFdaWtHYXtT75X_19.jpg?auto=format,compress?auto=compress,format&rect=0,78,1181,1181&w=500&h=500",{"x":156,"y":17866,"zoom":17867,"background":915},-33,0.42337002540220153,{"dimensions":17869,"alt":7,"copyright":7,"url":17870,"id":17460,"edit":17871},{"width":12977,"height":12978},"https://images.prismic.io/islaa/ZliFdaWtHYXtT75X_19.jpg?auto=format,compress?auto=compress,format&rect=180,0,821,1337&w=215&h=350",{"x":17872,"y":156,"zoom":17873,"background":915},-47,0.2617801047120419,{"dimensions":17875,"alt":7,"copyright":7,"url":17876,"id":17460,"edit":17877},{"width":266,"height":272},"https://images.prismic.io/islaa/ZliFdaWtHYXtT75X_19.jpg?auto=format,compress?auto=compress,format&rect=0,314,1181,709&w=500&h=300",{"x":156,"y":17878,"zoom":17867,"background":915},-133,[17880],{"type":23,"text":17881,"spans":17882},"Domingo Ferreira, Untitled, 1972. Ink on paper, 15 7/8 × 13 5/8 in. (39.7 × 34 cm). Institute for Studies on Latin American Art (ISLAA), New York",[17883],{"start":157,"end":430,"type":112},[17885],{"type":23,"text":17886,"spans":17887,"direction":26},"Gabriel Peluffo Linari reflects on the development of the Nueva Figuración and \"El Dibujazo\" movements in 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Lara: Interior Landscapes",[17949],{"type":23,"text":17950,"spans":17951},"Curated by Angelina Medina, Giovanni Falcone, Katie Svensson, and Vivian 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Institute of Fine Arts, New York University and ISLAA announce the opening of the spring Duke House Exhibition, Magali Lara: Interior Landscapes, on view in The James B. Duke House from February 16 to May 16, 2024. Encompassing work from the 1970s to the 1990s, the exhibition presents four major paintings by Magali Lara, one of Mexico's most important living artists, highlighting her interior landscapes as acts of reclamation and healing. Her early domestic spaces grapple with memories of her childhood and the misogyny that surrounded her, while her later abstract works confront her personal experiences with grief and, simultaneously, consider the relationship between humans and the natural environment. Through her work, Lara contests the traditional expectations of women in Mexican society and proposes new avenues for expressing desire and recuperation. The exhibition is curated by Angelina Medina, Giovanni Falcone, Katie Svensson, and Vivian Wu. ",[18023,18024],{"start":9689,"end":4492,"type":112},{"start":9689,"end":18025,"type":630,"data":18026},148,{"link_type":73,"url":18027},"https://ifa.nyu.edu/events/duke-house-exhibitions.htm",{"type":23,"text":18029,"spans":18030},"Created between 1983 to 1995, the paintings on display in The James B. Duke House reflect the changing ways Lara articulated her own corporeal experiences and subjectivity. In the Lecture Hall, two paintings from her series Historias de casa depict intimate interior spaces, inspired by her childhood memories of observing her grandmother’s daily chores. She also incorporates terse phrases that identify everyday objects and articulate the relationship between household responsibilities and questions of self-determination. More broadly, Lara situates the development of the feminist struggle within the home: these interior spaces are integral for the evolution of feminist and revolutionary thought, particularly in the context of the fraught political climate of Mexico in the 1980s. ",[18031],{"start":7134,"end":18032,"type":112},242,{"type":23,"text":18034,"spans":18035},"Lara’s abstract works, exhibited in the Loeb Room, demonstrate how the artist shifts her focus to the natural world, to the landscapes and gardens that kept the artist company as she dealt with the loss of her husband, the Cuban artist Juan Francisco Elso. These scenes may depict an abstracted exterior world, but for Lara there is no separating the individual from nature. Just as the interior spaces of her childhood act as reflections on her growth, Lara’s paintings of the natural world are maps of her personal trajectory. These works remind us of our unbreakable bond with the earth and its power to heal us; in this way they act as calls to protect and restore the environment in return. ",[],{"type":23,"text":18037,"spans":18038},"In the Marble Room, vitrines will display artists' books made by Lara and her collaborators. These works underscore her commitment to challenging the traditional role expected of women in Mexican life and her investigation of the body; Lara subverts the objectification of women’s bodies by figuring the main character as a chair, an object associated with the domestic world women were expected to inhabit. The books also embody the collaboration between Lara and other artists, an important part of her creative practice that seeks to advance the cause of women’s liberation in Mexico during the 1980s. ",[],{"type":23,"text":18040,"spans":18041},"Mondays from 11:00 AM - 3:00 PM\nTuesdays from 12:30 - 2:00 PM\nFridays from 11:00 AM - 3:00 PM",[],{"type":23,"text":18043,"spans":18044},"Exhibition Tours: Schedule an appointment.",[18045],{"start":157,"end":2666,"type":630,"data":18046},{"link_type":73,"url":18047,"target":633},"https://calendly.com/ifa-events/the-duke-house-exhibition-series?month=2024-02","single_column_content$63620e8b-bf4f-4042-8950-a50c5a031c8e",{"variation":101,"version":102,"items":18050,"primary":18052,"id":18072,"slice_type":147,"slice_label":7},[18051],{},{"text":18053},[18054,18059],{"type":23,"text":18055,"spans":18056,"direction":26},"About the Artist",[18057],{"start":156,"end":901,"type":158,"data":18058},{"label":160},{"type":23,"text":18060,"spans":18061,"direction":26},"Magali Lara, born in 1956 in Mexico City, is an artist, curator, writer, and teacher. Since attending the Escuela Nacional de Artes Plásticas in the 1970s, Lara has worked across mediums, creating paintings, artists’ books, and installations. A leading figure of Mexican contemporary art, her work centers themes such as femininity, sexuality, emotion, and identity. Lara has collaborated with important figures in the world of Mexican art and literature, including Mónica Mayer (born 1954), Rowena Morales (born 1948), Carmen Boullosa (born 1954), Yani Pecanins (1954-2019) and others. Artworks by Lara are in the permanent collections of museums worldwide, including the Museum of Modern Art, New York; the Museum of Latin American Art, Long Beach; and the Museum of Contemporary Art of Oaxaca, among others. Exhibitions dedicated to Lara’s work have also been held around the world, including Magali Lara: Del cielo, Instituto Cultural de México, Paris; Magali Lara: Los ojos no, Centro Cultural Recoleta, Buenos Aires; Magali Lara: Glaciares, Visual Arts Center, Austin; and Magali Lara: Intemperie, Museo Nacional de la Estampa, Mexico City.",[18062,18065,18067,18069],{"start":18063,"end":18064,"type":112},896,918,{"start":5256,"end":18066,"type":112},981,{"start":8088,"end":18068,"type":112},1045,{"start":18070,"end":18071,"type":112},1079,1102,"single_column_content$b62337b4-7d27-410b-9ed5-977114efea1c",{"variation":101,"version":102,"items":18074,"primary":18076,"id":18086,"slice_type":147,"slice_label":7},[18075],{},{"text":18077},[18078,18083],{"type":23,"text":18079,"spans":18080,"direction":26},"Exhibition Programming ",[18081],{"start":156,"end":2546,"type":158,"data":18082},{"label":160},{"type":23,"text":18084,"spans":18085,"direction":26},"On Wednesday, April 10, 2024, Magali Lara and Dr. Madeline Murphy Turner, a recent IFA graduate and the current Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings at the Harvard Art Museums (and noted authority on Mexican women artists of Lara’s generation), will share their valuable insights on Lara's artistic approaches, starting with the paintings on view in the exhibition and expanding into her multifaceted work with artists’ books and other media.",[],"single_column_content$2aad71d7-b742-4f21-a908-c330e69f7b7f",{"variation":101,"version":102,"items":18088,"primary":18090,"id":18105,"slice_type":147,"slice_label":7},[18089],{},{"text":18091},[18092,18097,18100,18102],{"type":23,"text":18093,"spans":18094,"direction":26},"About the Institute of Fine Arts at NYU ",[18095],{"start":156,"end":135,"type":158,"data":18096},{"label":160},{"type":23,"text":18098,"spans":18099,"direction":26},"Since 1932 the Institute of Fine Arts has been dedicated to graduate teaching and advanced research in the history of art, archaeology, and conservation. The Duke House Exhibition Series brings contemporary art to the walls of the Institute’s landmarked James B. Duke House. The work is displayed in the beaux-arts interior of the former residence of the Duke family, juxtaposing the historic with the contemporary and inviting viewers to engage with both the past and the future of the Institute. Since 2019, the Institute for Studies on Latin American Art (ISLAA) is proud to support the Duke House Exhibition Series to showcase the work of Latin American artists. ",[],{"type":23,"text":16661,"spans":18101,"direction":26},[],{"type":23,"text":18103,"spans":18104,"direction":26},"Special thanks to Professor Edward J. Sullivan, Dr. Madeline Murphy Turner, and Magali Lara for their support of this exhibition.",[],"single_column_content$be8f9f95-3f85-47cc-a1e8-f52f7bf5e970",{},{"dimensions":18108,"alt":18111,"copyright":7,"url":18112,"id":18113,"edit":18114},{"width":18109,"height":18110},2835,3555,"Acrylic on canvas abstract painting in reds, oranges, and blues.","https://images.prismic.io/islaa/437d847f-74a5-492a-b47b-0057bc2ccd68_Exhibition_Magali+Lara_Duke+House_Hero+Image_Feb+2024.jpg?auto=compress,format","ZbFB3hEAACEA-Dxo",{"x":156,"y":156,"zoom":172,"background":915},[18116],{"type":23,"text":18117,"spans":18118},"Magali Lara, Reproducir, repetirse (serie Proliferación), 1990. Acrylic on canvas, 59 x 47 1/8 in. Institute for Studies on Latin American Art (ISLAA) Collection.",[],[18120],{"type":23,"text":18121,"spans":18122},"The exhibition of Mexican artist Magali Lara is part of the Duke House Exhibition Series at the Institute of Fine Arts, NYU supported by ISLAA.",[],[18124],{"page":18125},{"link_type":30},[18127],{"shopify_product_handle":7},{"id":18129,"uid":18130,"url":7,"type":8,"href":18131,"tags":18132,"first_publication_date":18133,"last_publication_date":18134,"slugs":18135,"linked_documents":18136,"lang":17,"alternate_languages":18137,"data":18138},"ZRHkOxAAACgASaus","valerie-brathwaite-works-on-paper","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRHkOxAAACgASaus%22%29+%5D%5D",[11],"2023-09-25T19:57:22+0000","2025-05-06T22:23:30+0000",[18130],[],[],{"title":18139,"subtitle":18140,"series":18144,"regions":18149,"date":18152,"end_date":18153,"location":18154,"institutions":18164,"exhibition_materials":18174,"in_the_news":18177,"artists":18180,"curators":18188,"art_movements":18203,"slices":18206,"meta_description":7,"meta_image":18265,"meta_title":7,"preview_image":18266,"preview_image_caption":18274,"preview_description":18279,"related_content":18283,"related_products":18286},"Valerie Brathwaite: Works on Paper",[18141],{"type":23,"text":18142,"spans":18143},"Curated by Jesús Fuenmayor and Macarena Deij Prado",[],[18145],{"series":18146},{"id":1365,"type":1366,"tags":18147,"lang":17,"slug":1368,"first_publication_date":1369,"last_publication_date":1369,"uid":1368,"link_type":30,"key":18148,"isBroken":47},[],"79d42cf0-f5f4-4346-8d58-8ea99d78929c",[18150],{"region":18151},{"link_type":30},"2023-09-21","2023-11-18",{"id":18155,"type":38,"tags":18156,"lang":17,"slug":18157,"first_publication_date":18158,"last_publication_date":18159,"uid":18160,"data":18161,"link_type":30,"key":18163,"isBroken":47},"ZRHkgBAAACsASawZ",[],"uf-galleries","2023-09-25T19:50:27+0000","2023-10-20T00:16:35+0000","university-of-florida-university-galleries",{"name":18162},"UF Galleries","a6c3c7b3-32ca-4a86-84aa-cb6cfdc0e0da",[18165],{"institution":18166},{"id":18167,"type":327,"tags":18168,"lang":17,"slug":18169,"first_publication_date":18170,"last_publication_date":18171,"uid":18172,"link_type":30,"key":18173,"isBroken":47},"ZSI5NRIAACIAzhB9",[],"uf","2023-10-08T05:08:08+0000","2023-10-19T21:34:38+0000","university-of-florida","83d96a49-31a1-4a03-a1f5-ba10f131c712",[18175],{"link":18176,"link_label":7},{"link_type":503},[18178],{"press_link":18179,"link_label":7},{"link_type":503},[18181],{"artist":18182},{"id":18183,"type":84,"tags":18184,"lang":17,"slug":18185,"first_publication_date":18186,"last_publication_date":18186,"uid":18185,"link_type":30,"key":18187,"isBroken":47},"ZRHkrhAAACsASaxu",[],"valerie-brathwaite","2023-09-25T19:51:14+0000","71596b96-77d1-4e8a-83c4-0f7c24988e80",[18189,18196],{"curator":18190},{"id":18191,"type":84,"tags":18192,"lang":17,"slug":18193,"first_publication_date":18194,"last_publication_date":18194,"uid":18193,"link_type":30,"key":18195,"isBroken":47},"ZRHkxRAAACoASayY",[],"jesus-fuenmayor","2023-09-25T19:51:36+0000","13402e11-11f8-4cd8-b7d0-669a1a31a32b",{"curator":18197},{"id":18198,"type":84,"tags":18199,"lang":17,"slug":18200,"first_publication_date":18201,"last_publication_date":18201,"uid":18200,"link_type":30,"key":18202,"isBroken":47},"ZRHk3BAAACsASazA",[],"macarena-deij-prado","2023-09-25T19:51:59+0000","c8a811ff-db1e-4e95-b3c8-06d23bb8b2cd",[18204],{"art_movement":18205},{"link_type":30},[18207,18231,18245],{"variation":101,"version":102,"items":18208,"primary":18210,"id":18230,"slice_type":147,"slice_label":7},[18209],{},{"text":18211},[18212,18217,18220,18223,18227],{"type":23,"text":18213,"spans":18214},"Valerie Brathwaite: Works on Paper presents drawings by the Trinidad and Tobago–born artist that transformed the history of Venezuelan art. Curated by Macarena Deij Prado, this exhibition is part of the [On View: Curatorial Studies] series and will be held at the Gary R. Libby Focus Gallery between September 21 and November 18, 2023. The exhibition is part of the ISLAA Artist Seminar Initiative supported by the Institute for Studies on Latin American Art (ISLAA) in collaboration with the University Galleries and the School of Art and Art History. ISLAA’s Artist Seminar Initiative supports academic institutions in fostering intimate exchanges between students and living artists from Latin America. The parallel exhibition Vital and Veiled: Valerie Brathwaite and José Gabriel Fernández will be on view at the Gary R. Libby University Gallery from October 27, 2023 to January 26, 2024.",[18215,18216],{"start":156,"end":1878,"type":112},{"start":13671,"end":9822,"type":112},{"type":23,"text":18218,"spans":18219},"The exhibition showcases a selection of Brathwaite's drawings that highlight her unique approach to organic abstraction. Visitors will have the opportunity to experience the artist's profound connection to the environment and her ability to capture the essence of nature through her drawings. Born in 1938, Valerie Brathwaite is primarily known as a sculptor. However, her drawings are equally impressive and embody a radical commitment to the energy and infinite possibilities of free form and unrestrained volume. ",[],{"type":23,"text":18221,"spans":18222},"Inspired by fellow immigrant artist Gego (Gertrude Goldschmidt), who was a central figure of modernist abstraction in the country, Brathwaite moved to Venezuela in 1969, where she has lived and developed her career since. Most of the drawings included in this exhibition were created in the 1970s, a prolific decade that would mark a pivotal moment in Brathwaite’s career and in the history of art in Venezuela. This was the time when she explored living matters in a variety of media and materials in her characteristic organic abstraction style, consolidating her career. Her works on paper are a testament to her ability to capture the essence of nature and translate it into a visual language that is both captivating and thought-provoking.",[],{"type":23,"text":18224,"spans":18225},"Drawing from her background as a sculptor, her drawings also incorporate a sense of tactile materiality to create texture and depth, adding a sculptural quality to her two-dimensional works. Unlike her sculptural works, however, Brathwaite’s drawings offer a different visual experience, allowing her to experiment uniquely with composition, coexisting planes, lines, texture, and color. To this date, the artist's keen eye for detail and her fascination with the intricate growth patterns of plants and the textures of the landscape has driven her to experiment on a smaller scale with new materials such as fabric and porcelain. Valerie Brathwaite: Works on Paper is an opportunity to connect with drawings where lines and forms coexist in a continuous state of metamorphosis and infinite exploration of the picture plane.",[18226],{"start":9072,"end":15444,"type":112},{"type":23,"text":18228,"spans":18229},"Additional support for the exhibition was provided by Henrique Faria and Anilu Gómez. This exhibition is part of the series [On View: Curatorial Studies], which features art exhibitions curated by School of the Art and Art History students. ",[],"single_column_content$3cf499cf-bab8-4ad1-b1a5-737c88d8cdb7",{"variation":101,"version":102,"items":18232,"primary":18234,"id":18244,"slice_type":147,"slice_label":7},[18233],{},{"text":18235},[18236,18241],{"type":23,"text":18237,"spans":18238,"direction":26},"RELATED PROGRAMMING",[18239],{"start":156,"end":2665,"type":158,"data":18240},{"label":160},{"type":23,"text":18242,"spans":18243,"direction":26},"Opening reception: September 21, 2023, 5-7 PM.",[],"single_column_content$b0c250dc-1236-4b13-916f-75b58039d13e",{"variation":101,"version":102,"items":18246,"primary":18248,"id":18264,"slice_type":147,"slice_label":7},[18247],{},{"text":18249},[18250,18255,18261],{"type":23,"text":18251,"spans":18252,"direction":26},"ADDITIONAL INFORMATION",[18253],{"start":156,"end":2610,"type":158,"data":18254},{"label":160},{"type":23,"text":18256,"spans":18257,"direction":26},"The graduate program in Art History at the University of Florida offers a global art history program covering a breadth of content from across time and space. The program also offers a graduate certificate in curatorial studies.",[18258],{"start":628,"end":7837,"type":630,"data":18259},{"link_type":73,"url":18260,"target":633},"https://arts.ufl.edu/academics/art-and-art-history/programs/art-history/degrees-ways-to-study/",{"type":23,"text":18262,"spans":18263,"direction":26},"The University of Florida University Galleries’ mission is to be a platform for relevant and experimental art research and a place where pressing contemporary conversations are amplified and shared with the university and expanded communities. The UG advances the School of Art + Art History’s commitment to the visual arts by offering an experimental space to bring people together around art and ideas, improving accessibility and inclusivity through direct student and community engagement; increasing the school’s visibility as a center for critical discourse around artistic research, production, and scholarship, leading with preeminent programming.",[],"single_column_content$10818037-462a-4d2c-9dc4-8134bac2d048",{},{"dimensions":18267,"alt":18270,"copyright":7,"url":18271,"id":18272,"edit":18273},{"width":18268,"height":18269},3246,4605,"Ink on paper abstract painting of red and black swirls.","https://images.prismic.io/islaa/859d0100-1414-47ec-bebd-f5a162c64ee1_BRV1972untitled1.jpg?auto=compress,format","ZRHlPhAAACsASa1o",{"x":156,"y":156,"zoom":172,"background":915},[18275],{"type":23,"text":18276,"spans":18277},"Valerie Brathwaite, Untitled, 1972, Ink on paper, 27 1/2 x 19 3/4 in.",[18278],{"start":921,"end":3256,"type":112},[18280],{"type":23,"text":18281,"spans":18282},"The first of three exhibitions developed from a graduate seminar at the University of Florida in the spring of 2023 supported by ISLAA through our Artist Seminar Initiative.",[],[18284],{"page":18285},{"link_type":30},[18287],{"shopify_product_handle":7},{"id":18289,"uid":18290,"url":7,"type":8,"href":18291,"tags":18292,"first_publication_date":18293,"last_publication_date":18294,"slugs":18295,"linked_documents":18297,"lang":17,"alternate_languages":18298,"data":18299},"ZTq9oBAAACIA_boP","vital-and-veiled-valerie-brathwaite-jose-gabriel-fernandez","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZTq9oBAAACIA_boP%22%29+%5D%5D",[11],"2023-10-26T19:38:40+0000","2025-05-06T22:21:32+0000",[18296],"vital-and-veiled-valerie-brathwaite-and-jose-gabriel-fernandez",[],[],{"title":18300,"subtitle":18301,"series":18305,"regions":18310,"date":18313,"end_date":18314,"location":18315,"institutions":18319,"exhibition_materials":18324,"in_the_news":18327,"artists":18330,"curators":18342,"art_movements":18354,"slices":18357,"meta_description":7,"meta_image":18456,"meta_title":7,"preview_image":18457,"preview_image_caption":18463,"preview_description":18469,"related_content":18474,"related_products":18479},"Vital and Veiled: Valerie Brathwaite and José Gabriel Fernández",[18302],{"type":23,"text":18303,"spans":18304},"Curated by Jesús Fuenmayor and Kaira Cabañas",[],[18306],{"series":18307},{"id":1365,"type":1366,"tags":18308,"lang":17,"slug":1368,"first_publication_date":1369,"last_publication_date":1369,"uid":1368,"link_type":30,"key":18309,"isBroken":47},[],"ba81d6c1-e59a-4286-aa80-c2831e2497e6",[18311],{"region":18312},{"link_type":30},"2023-10-27","2024-01-26",{"id":18155,"type":38,"tags":18316,"lang":17,"slug":18157,"first_publication_date":18158,"last_publication_date":18159,"uid":18160,"data":18317,"link_type":30,"key":18318,"isBroken":47},[],{"name":18162},"8b19eba9-d79b-4224-9253-bbe397ec8795",[18320],{"institution":18321},{"id":18167,"type":327,"tags":18322,"lang":17,"slug":18169,"first_publication_date":18170,"last_publication_date":18171,"uid":18172,"link_type":30,"key":18323,"isBroken":47},[],"e2c79261-7748-4c1a-846e-567e58ab8350",[18325],{"link":18326,"link_label":7},{"link_type":503},[18328],{"press_link":18329,"link_label":7},{"link_type":503},[18331,18335],{"artist":18332},{"id":18183,"type":84,"tags":18333,"lang":17,"slug":18185,"first_publication_date":18186,"last_publication_date":18186,"uid":18185,"link_type":30,"key":18334,"isBroken":47},[],"5214c942-4a9c-4cec-b981-bfabf2d6a419",{"artist":18336},{"id":18337,"type":84,"tags":18338,"lang":17,"slug":18339,"first_publication_date":18340,"last_publication_date":18340,"uid":18339,"link_type":30,"key":18341,"isBroken":47},"ZTq9uxAAACIA_bqL",[],"jose-gabriel-fernandez","2023-10-26T19:27:58+0000","44b13359-ed67-49f2-8c38-794cd8e5aa46",[18343,18347],{"curator":18344},{"id":18191,"type":84,"tags":18345,"lang":17,"slug":18193,"first_publication_date":18194,"last_publication_date":18194,"uid":18193,"link_type":30,"key":18346,"isBroken":47},[],"efc0864c-197d-4700-a2df-feda3f793560",{"curator":18348},{"id":18349,"type":84,"tags":18350,"lang":17,"slug":18351,"first_publication_date":18352,"last_publication_date":18352,"uid":18351,"link_type":30,"key":18353,"isBroken":47},"ZSI54xIAACMAzhOR",[],"kaira-cabanas","2023-10-08T05:11:03+0000","49844d73-894f-4e9b-bf59-a1d9b9fd0c81",[18355],{"art_movement":18356},{"link_type":30},[18358,18393,18438],{"variation":101,"version":102,"items":18359,"primary":18361,"id":18392,"slice_type":147,"slice_label":7},[18360],{},{"text":18362},[18363,18366,18371,18374,18377,18389],{"type":23,"text":18364,"spans":18365},"For the second iteration of the ISLAA Artist Seminar Initiative at the University Galleries of the University of Florida, the work of artists Valerie Brathwaite and José Gabriel Fernández informed the two-semester program of a curatorial seminar followed by an exhibition. Students in art history and museum studies programs took part in a seminar led by Kaira Cabañas in spring 2023. ",[],{"type":23,"text":18367,"spans":18368},"Vital and Veiled: Valerie Brathwaite and José Gabriel Fernández highlights segments of each artist's most emblematic series: In the case of Valerie Brathwaite, her stones, flowers, and \"soft body” sculptures, which she has been creating since the late 1960s, are a way of exploring sensuality in nature (or nature’s sensuality). Her sculptures employ a variety of materials such as bronze, clay, ceramic, plaster, cement, and fabric, resulting in a unique hybridization of collage, painting, and sculpture. Brathwaite’s sculptures are imbued with great vitalism in her forms and choice of materials, contributing to contemporary discussions around the new materialisms from her perspective as a Black woman from the Caribbean. In the case of José Gabriel Fernández, the exhibition focuses on his explorations of representations of masculinity and veiled homoeroticism in bullfighting, which he initiated in the mid 1990s and include studies of the capote, or bullfighter’s cape, as a generative shape for his ultramodern abstract sculptures. His work marries a keen aesthetic sophistication with veiled references to sexuality and contributes to expanded narratives on queer art. ",[18369,18370],{"start":156,"end":8084,"type":112},{"start":14969,"end":7670,"type":112},{"type":23,"text":18372,"spans":18373},"Both artists have explored sensuality through sculptural experimentation and print media in their own way. They also question how artistic practice relates to identity, a theme they began exploring before the emergence of identity politics in contemporary art. Their decades-long dedication to this type of aesthetic investigation provides another foundation for an in-depth discussion for other conversations related to contemporary art, art from Latin America and the Caribbean, and current curatorial discourses.",[],{"type":23,"text":18375,"spans":18376},"A fully-illustrated catalogue of the exhibition, with contributions by the curators and essays by Luis Pérez Oramas and Rachel Silveri, will be published by University Galleries.",[],{"type":23,"text":18378,"spans":18379},"Vital and Veiled is complemented by two additional exhibitions from the series On View: Curatorial Studies. Valerie Brathwaite: Works on Paper is curated by Macarena Deij Prado and open to the public at the Gary R. Libby Focus Gallery from September 21 to November 18, 2023. The exhibition presents a series of Brathwaite's historical drawings, mostly from the 1970s, in which she explores ideas of an inner landscape and the expanded possibilities of drawing. José Gabriel Fernández. A Brief History of Drawing is curated by Claude Mohr and will be on view from January 12 to January 27, 2024. There, Fernández will show a series of seven “action drawings” titled Pequeño Manual de Dibujo (Little Drawing Handbook), which disrupts notions of artistic didacticism and Euclidian geometry through the introduction of certain ”events,” like burning, into drawing as a practice. The actions are documented through a series of seven dissolving slide projections that continuously loop.\n",[18380,18381,18382,18385,18387],{"start":156,"end":901,"type":112},{"start":111,"end":448,"type":112},{"start":111,"end":448,"type":630,"data":18383},{"link_type":73,"url":18384,"target":633},"https://islaa.org/exhibitions/valerie-brathwaite-works-on-paper#entry:84012@2:url",{"start":17369,"end":18386,"type":112},511,{"start":12649,"end":18388,"type":112},690,{"type":23,"text":18390,"spans":18391},"The exhibition and publication are sponsored by the Institute for Studies on Latin American Art (ISLAA) and the School of Art + Art History (SA+AH), University of Florida, Gainesville. Additional support for the exhibition has been provided by the Harn Eminent Scholar Chair in Art History, the Division of Cultural Affairs of the State of Florida, SA+AH, the College of the Arts of the University of Florida, and Henrique Faria.",[],"single_column_content$96c9c989-10c5-471f-a2c0-ccf50b191fb1",{"variation":101,"version":102,"items":18394,"primary":18396,"id":18437,"slice_type":147,"slice_label":7},[18395],{},{"text":18397},[18398,18403,18406,18410,18413,18416,18419,18423,18426,18430,18433],{"type":23,"text":18399,"spans":18400,"direction":26},"Exhibition Programming",[18401],{"start":156,"end":2610,"type":158,"data":18402},{"label":160},{"type":23,"text":18404,"spans":18405,"direction":26},"October 10, 5PM ",[],{"type":23,"text":18407,"spans":18408,"direction":26},"Exhibition tour by Macarena Deij Prado of Valerie Brathwaite: Works on Paper",[18409],{"start":968,"end":2505,"type":112},{"type":23,"text":18411,"spans":18412,"direction":26},"October 26, 6PM",[],{"type":23,"text":18414,"spans":18415,"direction":26},"Lecture by Dr. E. Carmen Ramos: “Freddy Rodríguez’s Geometries: Diaspora, Networks and Context,” College of the Arts, University of Florida, Lecture Room FAB 105. ",[],{"type":23,"text":18417,"spans":18418,"direction":26},"October 27, 5–7PM",[],{"type":23,"text":18420,"spans":18421,"direction":26},"Opening of Vital and Veiled: Valerie Brathwaite and José Gabriel Fernández",[18422],{"start":9313,"end":13325,"type":112},{"type":23,"text":18424,"spans":18425,"direction":26},"November 11, noon",[],{"type":23,"text":18427,"spans":18428,"direction":26},"Exhibition tour by Jesús Fuenmayor of Vital and Veiled: Valerie Brathwaite and José Gabriel Fernández",[18429],{"start":952,"end":489,"type":112},{"type":23,"text":18431,"spans":18432,"direction":26},"January 18, noon",[],{"type":23,"text":18434,"spans":18435,"direction":26},"Exhibition tour by Claude Mohr of José Gabriel Fernández: A Brief History of Drawing",[18436],{"start":1878,"end":7247,"type":112},"single_column_content$12fc0ddb-5b88-476e-916b-7b40b70c2fcb",{"variation":101,"version":102,"items":18439,"primary":18441,"id":18455,"slice_type":147,"slice_label":7},[18440],{},{"text":18442},[18443,18448,18452],{"type":23,"text":18444,"spans":18445,"direction":26},"Additional information",[18446],{"start":156,"end":2610,"type":158,"data":18447},{"label":160},{"type":23,"text":18256,"spans":18449,"direction":26},[18450],{"start":628,"end":7837,"type":630,"data":18451},{"link_type":73,"url":18260,"target":633},{"type":23,"text":18453,"spans":18454,"direction":26},"The University of Florida University Galleries’ mission is to be a platform for relevant and experimental art research and a place where pressing contemporary conversations are amplified and shared with the university and expanded communities. The University Galleries advances the School of Art + Art History’s commitment to the visual arts by offering an experimental space to bring people together around art and ideas, improving accessibility and inclusivity through direct student and community engagement; increasing the school’s visibility as a center for critical discourse around artistic research, production, and scholarship, leading with preeminent programming.",[],"single_column_content$e7f2c651-4ee9-48e1-ba0c-f1d465d5b19e",{},{"dimensions":18458,"alt":18459,"copyright":7,"url":18460,"id":18461,"edit":18462},{"width":254,"height":254},"Left: Soft textile sculpture with a blue and a black bag with strings. 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This language has two different ways of addressing the first-person plural. Ñande refers to an inclusive “we,” where everyone participates, whereas ore implies that some member of a social group has been left outside. This difference, which is absent in both Spanish and English, reveals an insightful understanding of community and belonging.",[18582,18583,18585],{"start":156,"end":936,"type":112},{"start":18584,"end":11738,"type":112},188,{"start":18586,"end":10029,"type":112},260,{"type":23,"text":18588,"spans":18589},"Inspired by this notion of collectivity, Ñande Róga reflects on the work of the Paraguayan artist Feliciano Centurión (b. 1962, San Ignacio, Paraguay; d. 1996, Buenos Aires, Argentina). His practice was profoundly influenced by the countryside of Paraguay, the underground cultural scene of Buenos Aires in the 1990s, and the queer and gay movements of post-dictatorship Argentina. 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It is clear from the works and archival ephemera presented in Ñande Róga that Centurión’s work existed within that inclusive “we.” This linguistic nuance fueled the development of an exhibition system composed of concentric circles, with original artworks in the center and a perimeter of facsimiles (press clippings, documentary photographs, and notes) drawn from the Centurión archive at ISLAA.",[18596],{"start":8767,"end":18597,"type":112},649,{"type":23,"text":18599,"spans":18600},"The artworks, archival materials, and ephemera in Ñande Róga provide new perspectives through which to view the life and practices of Feliciano Centurión and his artistic communities.",[18601],{"start":180,"end":9291,"type":112},{"type":23,"text":18603,"spans":18604},"Curated by Eduardo Andres Alfonso, Angelica Arbelaez, María Carri, Rachel Eboh, Laura Hakel, Kyle Herrington, and Guy Weltchek, with generous guidance from K.ari.n Schneider and ISLAA.",[],{"type":23,"text":18606,"spans":18607},"ABOUT THE ISLAA RESEARCH SEMINAR INITIATIVE",[],{"type":23,"text":18609,"spans":18610},"The ISLAA Research Seminar Initiative works in partnership with academic institutions to support graduate seminars that culminate in student-organized exhibitions. 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Courtesy the artist",[18913],{"start":901,"end":629,"type":112},{},"image_carousel$80c9645e-cc41-4adc-8b38-deb3e74c8cc1",{"variation":101,"version":102,"items":18917,"primary":18919,"id":18987,"slice_type":147,"slice_label":7},[18918],{},{"text":18920},[18921,18929,18936,18940,18946,18949,18952,18957,18961,18966,18969,18974,18977,18981,18984],{"type":23,"text":18922,"spans":18923,"direction":26},"Curated by Jesús Fuenmayor and Kaira Cabañas, Painting Situations: Sigfredo Chacón and Liliana Porter is the first exhibition of the ISLAA Artist Seminar Initiative at the University of Florida. For this iteration of the program, in the spring of 2022 students of art history and museum studies took part in a seminar led by curator Jesús Fuenmayor on the work of renowned artists Sigfredo Chacón and Liliana Porter. The students subsequently served as members of the curatorial advisory committee to the exhibition. ",[18924,18925],{"start":998,"end":7233,"type":112},{"start":18926,"end":11738,"type":630,"data":18927},172,{"link_type":73,"url":18928,"target":633},"https://arts.ufl.edu/galleries/welcome/",{"type":23,"text":18930,"spans":18931,"direction":26},"Painting Situations showcases the work of two pioneers of Latin American Conceptualism. The curators chose to focus on Chacón and Porter’s most emblematic projects: his Pinturasparlantes (Speaking-paintings) and her Forced Labor series. In doing so, the exhibition highlights how, despite each artist’s deployment of radically different aesthetic strategies, the works on view share a common ambition. Each artist’s work critically comments on painting as a medium and as a situation that calls upon viewers’ lived experiences and attention to social contexts. 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Libby Focus Gallery, Más Situaciones: Sigfredo Chacón and Liliana Porter (parts I and II), curated by doctoral candidates Helena Chen and Laura Colkitt as part of the series “On View: Curatorial Studies.” A fully-illustrated catalogue with contributions by the curators and interviews with the artists will be published by University Galleries.",[18939],{"start":436,"end":11681,"type":112},{"type":23,"text":18941,"spans":18942,"direction":26},"The exhibition program and publication are sponsored by the Institute for Studies on Latin American Art (ISLAA) and the School of Art + Art History, University of Florida, Gainesville. Additional event sponsors include the University of Florida's Harn Eminent Scholar Chair in Art History and the Center for the Humanities and the Public Sphere (Rothman Endowment).",[18943],{"start":10003,"end":18944,"type":630,"data":18945},183,{"link_type":73,"url":18260,"target":633},{"type":23,"text":18947,"spans":18948,"direction":26},"EXHIBITION RELATED PROGRAMMING",[],{"type":23,"text":18950,"spans":18951,"direction":26},"October 12, 5–7 PM",[],{"type":23,"text":18953,"spans":18954,"direction":26},"Opening of Painting Situations: Sigfredo Chacón and Liliana Porter and Más Situaciones: Sigfredo Chacón and Liliana Porter",[18955,18956],{"start":9313,"end":4850,"type":112},{"start":7145,"end":1456,"type":112},{"type":23,"text":18958,"spans":18959,"direction":26},"October 28, 3 PM ",[18960],{"start":936,"end":967,"type":112},{"type":23,"text":18962,"spans":18963,"direction":26},"Exhibition tour of Painting Situations: Sigfredo Chacón and Liliana Porter and Más Situaciones (part 1), led by by Laura Colkitt",[18964,18965],{"start":2665,"end":7232,"type":112},{"start":110,"end":10061,"type":112},{"type":23,"text":18967,"spans":18968,"direction":26},"November 10, 5 PM",[],{"type":23,"text":18970,"spans":18971,"direction":26},"Exhibition tour of Painting Situations: Sigfredo Chacón and Liliana Porter and Más Situaciones (part 2), led by Helena Chen ",[18972,18973],{"start":157,"end":7232,"type":112},{"start":2516,"end":10061,"type":112},{"type":23,"text":18975,"spans":18976,"direction":26},"November 16, 5 PM",[],{"type":23,"text":18978,"spans":18979,"direction":26},"Exhibition tour of Painting Situations: Sigfredo Chacón and Liliana Porter, led by Jesús Fuenmayor",[18980],{"start":2665,"end":13325,"type":112},{"type":23,"text":18982,"spans":18983,"direction":26},"November 16, 6 PM",[],{"type":23,"text":18985,"spans":18986,"direction":26},"Lecture by Sérgio B. 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Photo by Walter Wlodarcyk",[19061],{"start":2665,"end":8615,"type":112},{"link_type":30},"2024-09-10",[19065],{"institution":19066},{"id":10126,"type":327,"tags":19067,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":19068,"isBroken":47},[],"d408be06-50a7-4f15-8aff-2df052c61055",[19070],{"link":19071,"link_label":7},{"link_type":503},[19073,19084,19114],{"variation":101,"version":102,"items":19074,"primary":19082,"id":19083,"slice_type":10148,"slice_label":7},[19075],{"category":10140,"value":19076},{"id":19077,"type":84,"tags":19078,"lang":17,"slug":19079,"first_publication_date":19080,"last_publication_date":19080,"uid":19079,"link_type":30,"key":19081,"isBroken":47},"Zrns_BIAACEATe6G",[],"marisa-lerer","2024-08-12T11:09:07+0000","69789d34-9f0b-4135-9795-290f3b3b502c",{},"credits$9c59337d-c3bb-4e50-ab00-91fb150863fa",{"variation":101,"version":102,"items":19085,"primary":19086,"id":19113,"slice_type":522,"slice_label":7},[],{"text":19087},[19088,19091,19094,19096,19101,19104],{"type":23,"text":19089,"spans":19090,"direction":26},"Tuesday, September 10",[],{"type":23,"text":19092,"spans":19093,"direction":26},"6:00 PM ET",[],{"type":23,"text":138,"spans":19095,"direction":26},[],{"type":23,"text":19097,"spans":19098,"direction":26},"Marisa Lerer, Director of Education at Creative Capital Foundation, will discuss disaster monuments in the Caribbean in her talk Commemorating Disasters Across Borders in Latine Public Memorials. The line “It has to be from here, right this instance, my cry into the world” by Puerto Rican poet Julia de Burgos appears in both English and Spanish on the memorial by artist Antonio Martorell and architect Segundo Cardona dedicated to the thousands of victims of Hurricane Maria, which devastated Puerto Rico in 2017. ",[19099,19100],{"start":967,"end":2640,"type":407},{"start":11286,"end":4353,"type":112},{"type":23,"text":19102,"spans":19103,"direction":26},"Focusing on the bilingualism and diasporic nature of Latine commemorative visual culture through three case studies, this talk examines how contemporary memorials that are part of a surge of twenty-first-century disaster monuments respond to entwined Latin American and US tragedies. A close analysis of memorials by Martorell and Cardona, Freddy Rodríguez, and Scherezade Garcia illuminate innovations in material and aesthetic inquiries in commemorative works. The memorials under discussion embrace an aesthetics of post-disaster politics, which this study defines as an attempt to balance a representation of destructive forces such as societal and environmental instability while creating a nurturing, regenerative, and caring environment for visitors. ",[],{"type":23,"text":19105,"spans":19106,"direction":26},"The program will be presented onsite at the James B. Duke House and livestreamed via Zoom. For in-person attendance, please RSVP here. To register for the Zoom livestream, click here.",[19107,19110],{"start":11286,"end":11532,"type":630,"data":19108},{"link_type":73,"url":19109,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSfqj3cn5OUNC18dzxoDtLSSVCyDj4U7o1-n9Evu4BXEi5Ba9A/viewform",{"start":14731,"end":13219,"type":630,"data":19111},{"link_type":73,"url":19112,"target":633},"https://nyu.zoom.us/webinar/register/WN_AtlfwjBURoSeCax_l8ODMQ#/registration","text$09747ece-3120-4f8b-8f23-f3a5d87b298b",{"variation":101,"version":102,"items":19115,"primary":19116,"id":19124,"slice_type":522,"slice_label":7},[],{"text":19117},[19118],{"type":23,"text":19119,"spans":19120,"direction":26},"The ISLAA Forum on Latin American Art is a platform sustained in partnership with the Institute of Studies for Latin American Art (ISLAA). This event series brings artists, scholars, and critics of the arts of the Americas to the Institute of Fine Arts, providing a platform for discussions and debates about diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere. This series of public programs and events is coordinated by Edward J. Sullivan, Helen Gould Shepard Professor in the History of Art, the Institute of Fine Arts, New York University, and organized by graduate students. Since partnering with ISLAA in 2011, the Institute of Fine Arts, NYU has hosted more than thirty events bringing artists, scholars, and critics of the arts of the Americas together to discuss and debate diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere.",[19121],{"start":7313,"end":11286,"type":630,"data":19122},{"link_type":73,"url":19123,"target":633},"https://d26a44b5.streaklinks.com/CF3OZCuOzhmNJEuPDAGuym5G/https%3A%2F%2Furldefense.proofpoint.com%2Fv2%2Furl%3Fu%3Dhttps-3A__www.islaa.org_%26d%3DDwMFaQ%26c%3DslrrB7dE8n7gBJbeO0g-IQ%26r%3DwEvlsqlM3KdkTHN1C-hjLA%26m%3DXtwcTvFOju_2zFsnE5Sl16vrRQDJd8vJXGjr_5Eb58ktmfyoesfWCg91rnDekzf-%26s%3DvQlLhcOPo2Oi3BfArrx6NcxZs9ASPofk9ZacW11-C7U%26e%3D","text$b2919a3c-39a8-4077-b7f3-5beb00cde382",{},{"dimensions":19127,"alt":7,"copyright":7,"url":19046,"id":19047,"edit":19128,"Square - Large":19129,"Square - Small":19133,"Horizontal":19136},{"width":19043,"height":19044},{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":19130,"alt":7,"copyright":7,"url":19131,"id":19047,"edit":19132},{"width":260,"height":260},"https://images.prismic.io/islaa/ZrneNUaF0TcGI2zc_Lerer.Garcia.Image.jpeg?auto=format,compress&rect=1083,0,4330,4330&w=1000&h=1000",{"x":12752,"y":156,"zoom":172,"background":173},{"dimensions":19134,"alt":7,"copyright":7,"url":19051,"id":19047,"edit":19135},{"width":266,"height":266},{"x":12752,"y":156,"zoom":172,"background":173},{"dimensions":19137,"alt":7,"copyright":7,"url":19055,"id":19047,"edit":19138},{"width":266,"height":272},{"x":156,"y":13216,"zoom":172,"background":173},[19140],{"type":23,"text":19141,"spans":19142,"direction":26},"Marisa Lerer, Director of Education at Creative Capital Foundation, will discuss disaster monuments and Latine commemorative visual culture in the Caribbean.",[],[19144],{"type":23,"text":19145,"spans":19146,"direction":26},"Scherezade Garcia. The Corona Altar. Greenwood Cemetery, Brooklyn, NY. 2020. Photo by Walter Wlodarcyk.",[19147],{"start":2665,"end":8615,"type":112},[19149,19158],{"page":19150},{"id":19151,"type":464,"tags":19152,"lang":17,"slug":19153,"first_publication_date":19154,"last_publication_date":19155,"uid":19156,"link_type":30,"key":19157,"isBroken":47},"Za6wCBEAACUAK3Q2",[11],"latin-american-forum-better-homes-and-subjects-the-politics-of-taste","2024-01-23T19:52:38+0000","2024-03-19T13:11:25+0000","latin-american-forum-better-homes-and-subjects-the","557a275f-138e-44a5-818e-0c0193b29ac2",{"page":19159},{"link_type":30},[19161],{"shopify_product_handle":7},{"id":19163,"uid":19164,"url":7,"type":464,"href":19165,"tags":19166,"first_publication_date":19167,"last_publication_date":19168,"slugs":19169,"linked_documents":19171,"lang":17,"alternate_languages":19172,"data":19173},"ZrS8cxIAACMARo9H","ifa-forum-spirituality","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZrS8cxIAACMARo9H%22%29+%5D%5D",[11],"2024-09-26T14:05:18+0000","2024-10-23T15:19:48+0000",[19170],"islaa-forum-on-latin-american-art-concerning-the-spiritual-in-contemporary-arts-in-latin-america-and-the-caribbean",[],[],{"title":19174,"series":19175,"hero_image":19180,"hero_caption":19194,"location":19198,"date":19202,"end_date":7,"institutions":19203,"linked_material":19208,"slices":19211,"meta_description":7,"meta_image":19286,"meta_title":7,"preview_image":19287,"preview_description":19307,"preview_image_caption":19311,"related_content":19316,"related_products":19321},"ISLAA Forum on Latin American Art: Concerning the Spiritual in Contemporary Arts in Latin America and the Caribbean",[19176],{"series":19177},{"id":19036,"type":1366,"tags":19178,"lang":17,"slug":19038,"first_publication_date":19039,"last_publication_date":19039,"uid":19038,"link_type":30,"key":19179,"isBroken":47},[],"24f38249-00b9-4446-bf25-c2e798c4b9d5",{"dimensions":19181,"alt":19182,"copyright":7,"url":19183,"id":19184,"edit":19185,"Square":19186,"Horizontal":19190},{"width":246,"height":2614},"Person painting on the floor","https://images.prismic.io/islaa/ZvKY27VsGrYSv0rj_process02.jpg?auto=format,compress","ZvKY27VsGrYSv0rj",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":19187,"alt":7,"copyright":7,"url":19188,"id":19184,"edit":19189},{"width":266,"height":266},"https://images.prismic.io/islaa/ZvKY27VsGrYSv0rj_process02.jpg?auto=format,compress&rect=400,0,1600,1600&w=500&h=500",{"x":9447,"y":156,"zoom":172,"background":173},{"dimensions":19191,"alt":7,"copyright":7,"url":19192,"id":19184,"edit":19193},{"width":266,"height":272},"https://images.prismic.io/islaa/ZvKY27VsGrYSv0rj_process02.jpg?auto=format,compress&rect=0,80,2400,1440&w=500&h=300",{"x":156,"y":11262,"zoom":172,"background":173},[19195],{"type":23,"text":19196,"spans":19197,"direction":26},"Santiago Yahuarcani working in his studio in Pebas, Loreto, Peru. September 2024. Photo: Hernán Hernández Kcomt",[],{"id":14357,"type":38,"tags":19199,"lang":17,"slug":10128,"first_publication_date":14359,"last_publication_date":14360,"uid":14361,"data":19200,"link_type":30,"key":19201,"isBroken":47},[],{"name":14363},"6ec477fe-6229-492b-abd3-ef4da432e7c6","2024-10-29",[19204],{"institution":19205},{"id":10126,"type":327,"tags":19206,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":19207,"isBroken":47},[],"d4113585-98e4-4d69-a751-e8e29964fdec",[19209],{"link":19210,"link_label":7},{"link_type":503},[19212,19230,19275],{"variation":101,"version":102,"items":19213,"primary":19228,"id":19229,"slice_type":10148,"slice_label":7},[19214,19221],{"category":10140,"value":19215},{"id":19216,"type":84,"tags":19217,"lang":17,"slug":19218,"first_publication_date":19219,"last_publication_date":19219,"uid":19218,"link_type":30,"key":19220,"isBroken":47},"ZncqNREAACQALVC3",[],"horacio-ramos","2024-06-22T19:47:04+0000","fdb11325-5a2d-47ff-b86d-c5be05d2dfc5",{"category":10140,"value":19222},{"id":19223,"type":84,"tags":19224,"lang":17,"slug":19225,"first_publication_date":19226,"last_publication_date":19226,"uid":19225,"link_type":30,"key":19227,"isBroken":47},"ZoV_3RAAACAA4A_Z",[],"julian-sanchez-gonzalez","2024-07-03T16:44:16+0000","75652d4f-06f5-4a80-9b5a-6b6f70c177b9",{},"credits$70dee066-6f86-4568-bfd3-53bff52d2c8e",{"variation":101,"version":102,"items":19231,"primary":19232,"id":19274,"slice_type":522,"slice_label":7},[],{"text":19233},[19234,19237,19239,19245,19248,19251,19256,19259,19262,19268],{"type":23,"text":19235,"spans":19236,"direction":26},"Tuesday, October 29",[],{"type":23,"text":19092,"spans":19238,"direction":26},[],{"type":23,"text":19240,"spans":19241,"direction":26},"ISLAA Forum on Latin American Art at The Institute of Fine Arts, NYU: Concerning the Spiritual in Contemporary Arts in Latin America and the Caribbean",[19242],{"start":156,"end":4492,"type":630,"data":19243},{"link_type":73,"url":19244,"target":633},"https://ifa.nyu.edu/events/latinamerican.htm",{"type":23,"text":19246,"spans":19247,"direction":26},"Over the past decade, scholars and art institutions across the Americas have observed a notable rise in the incorporation of spiritual beliefs into the practices of Latin American and Caribbean artists. Witchcraft, Shamanism, Paganism, Santería, Vodou, Obeah, Candomblé, and Divination have, not without controversy, become central themes in contemporary art discourse within communities of Indigenous artists, artists of color and beyond. These spiritually infused artistic explorations resonate with current decolonial and racial justice concerns, but their resurgence is far from coincidental.",[],{"type":23,"text":19249,"spans":19250,"direction":26},"In this program two advanced graduates with close ties to the IFA (Julián Sánchez  Gónzalez from Columbia and Horacio Ramos from the Graduate Center, City University of New York) will discuss their work in various Latin American venues in preparation for their PhD dissertations. Both speakers will address issues of race and aesthetic practices, subjects with which they also grappled during their recent activities as Curatorial Research Fellows at the Cisneros Institute at the Museum of Modern Art.",[],{"type":23,"text":19252,"spans":19253,"direction":26},"Horacio Ramos, PhD candidate at the Graduate Center of the City University of New York, will present “What Constitutes a Painting: Santiago Yahucani and the Modern Arts of the Huitoto People.” Among the Huitoto people of the Peruvian Amazon, everyday items like skirts for dancing, hammocks for resting, and paintings for display are often made from a common material: llanchama, a local fiber, painted with natural pigments such as achiote. In the 1970s, artists like Santiago Yahuarcani (Pucaurquillo, Peru, 1960) began using llanchama as canvases to depict local landscape, stories, and cosmovisions. These artworks eventually made their way from tourist markets in Pebas to prominent art venues like the Venice Biennale and the Museum of Modern Art in New York. This lecture will focus on the techniques Yahuarcani and other Amazonian artists use to apply pigments to this tough, fibrous material, highlighting how llanchamas paintings—whether for daily use or outside audiences—carry deep spiritual and communal significance. By examining the process and technique behind the art, we gain a deeper understanding of how llanchama paintings connect to Huitoto worldviews, often overlooked when viewed solely through the lens of Western painting.",[19254],{"start":19255,"end":15217,"type":112},369,{"type":23,"text":19257,"spans":19258,"direction":26},"Julián Sánchez Gónzalez, a PhD candidate at Columbia University, will present \"Readdressing the Spiritual: Insights from a Dissertation Project on Interspirituality.\" Over the past decade, scholars and art institutions across the Americas have observed a significant increase in the integration of spiritual beliefs into the practices of Latin American and Caribbean artists. Themes such as witchcraft, shamanism, paganism, Santería, Vodou, Obeah, Candomblé, and Divination have become central—albeit controversial themes in contemporary art discourse. These spiritually infused artistic practices resonate with current decolonial and racial justice concerns, yet their resurgence is far from coincidental. Drawing from ongoing doctoral research, this presentation examines two case studies from the 1970s and 1980s, focusing on artists who used spiritual intermixing to challenge and transcend the social and political constraints of their time through the otherworldly. Sánchez González explores two seemingly contradictory insights: one challenges the assumption that Latin American and Caribbean artists are inherently more spiritually inclined than those from other regions; the other advocates for greater recognition of spirituality as a legitimate scholarly concept in the region’s art historiography, opening new avenues for conceptual and methodological inquiry into this significant subject.",[],{"type":23,"text":19260,"spans":19261,"direction":26},"The program will be presented onsite at the James B. Duke House and will also be live streamed via Zoom. ",[],{"type":23,"text":19263,"spans":19264,"direction":26},"Join us in-person",[19265],{"start":156,"end":2680,"type":630,"data":19266},{"link_type":73,"url":19267,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSfVsQ9PLneykeJaSothNQX8LMSg86dR-L44BLiMSqSqdnM-ag/viewform",{"type":23,"text":19269,"spans":19270,"direction":26},"Join us virtually",[19271],{"start":156,"end":2680,"type":630,"data":19272},{"link_type":73,"url":19273,"target":633},"https://nyu.zoom.us/webinar/register/WN_qT-bUZElRS2G5-pRmxT6ng#/registration","text$aee86537-d081-4b7b-b0e2-704ce934aaec",{"variation":101,"version":102,"items":19276,"primary":19277,"id":19285,"slice_type":522,"slice_label":7},[],{"text":19278},[19279],{"type":23,"text":19280,"spans":19281,"direction":26},"The ISLAA Forum on Latin American Art is a platform sustained in partnership between The Institute of Fine Arts, NYU and ISLAA. This event series brings artists, scholars, and critics of the arts of the Americas to the Institute of Fine Arts, providing a platform for discussions and debates about diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere. This series of public programs and events is coordinated by Edward J. Sullivan, Helen Gould Shepard Professor in the History of Art, the Institute of Fine Arts, New York University (NYU), and organized by graduate students. Since partnering with ISLAA in 2011, the Institute of Fine Arts, NYU has hosted more than thirty events bringing artists, scholars, and critics of the arts of the Americas together to discuss and debate diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere.",[19282],{"start":2684,"end":9689,"type":630,"data":19283},{"link_type":73,"url":19284,"target":633},"https://ifa.nyu.edu/index.htm","text$c56aad01-301c-4316-b06a-4c701f33634a",{},{"dimensions":19288,"alt":19290,"copyright":7,"url":19291,"id":19292,"edit":19293,"Square - Large":19294,"Square - Small":19298,"Horizontal":19302},{"width":6037,"height":19289},2237,"Drawing of a person wearing a colorful attire","https://images.prismic.io/islaa/ZvLAQ7VsGrYSv1bG_13.png?auto=format,compress","ZvLAQ7VsGrYSv1bG",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":19295,"alt":7,"copyright":7,"url":19296,"id":19292,"edit":19297},{"width":260,"height":260},"https://images.prismic.io/islaa/ZvLAQ7VsGrYSv1bG_13.png?auto=format,compress&rect=0,327,1584,1584&w=1000&h=1000",{"x":156,"y":12013,"zoom":172,"background":173},{"dimensions":19299,"alt":7,"copyright":7,"url":19300,"id":19292,"edit":19301},{"width":266,"height":266},"https://images.prismic.io/islaa/ZvLAQ7VsGrYSv1bG_13.png?auto=format,compress&rect=0,327,1584,1584&w=500&h=500",{"x":156,"y":12013,"zoom":172,"background":173},{"dimensions":19303,"alt":7,"copyright":7,"url":19304,"id":19292,"edit":19305},{"width":266,"height":272},"https://images.prismic.io/islaa/ZvLAQ7VsGrYSv1bG_13.png?auto=format,compress&rect=0,643,1584,950&w=500&h=300",{"x":156,"y":19306,"zoom":172,"background":173},643,[19308],{"type":23,"text":19309,"spans":19310,"direction":26},"Horacio Ramos and Julián Sánchez González will discuss spirituality in contemporary art of Latin America.",[],[19312],{"type":23,"text":19313,"spans":19314,"direction":26},"A k u z u r u, Untitled, ca. 1988. Watercolor and black marker on paper mounted on board, 23 1/2 x 16 5/8\" (59.75 x 42.25cm). Courtesy of the artist. 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This year's seminar, “When Radical Attitudes Become Form: Reinvention and Destruction of Art in 1960s Latin America,” is led by Mariano López Seoane. ",[],{"type":23,"text":19404,"spans":19405,"direction":26},"All lectures at CCS Bard are free and open to the public. The lecture will take place at CCS Bard’s Annandale-on-Hudson campus at 5:00 PM EDT in Classroom 102.",[],{"type":23,"text":19407,"spans":19408,"direction":26},"About the lecture:",[],{"type":23,"text":19410,"spans":19411,"direction":26},"By the end of the 1960s, Latin American art reached a threshold. In Argentina, the mainstream art historical narrative tells how, pushed by increasing politicization, many artists withdrew from the art world to engage in political activism. But amid that situation of liminality, there are other stories to be told. This presentation focuses on three artists who died young, but who were some of the most brilliant and original figures of the decade: Alberto Greco, Jorge Bonino, and Federico Manuel Peralta Ramos. It narrates how, like other politicized artists, they also refused the conventions of the art world and radicalized themselves. Although in their case they did it to the point of insanity, producing works and actions that were expressions of despair as well as symptoms of the limits of language. 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Hosted by Rhizome, this event marks the launch of Post-border (code)pendency, a new online exhibition curated by Doreen Ríos for Rhizome’s ArtBase Anthologies series.",[19545,19546,19547,19548],{"start":9776,"end":921,"type":407},{"start":2547,"end":7340,"type":407},{"start":6406,"end":18032,"type":112},{"start":5615,"end":13438,"type":407},{"type":23,"text":19550,"spans":19551,"direction":26},"At the heart of this exhibition are works that investigate how the internet has reshaped our understanding of borders, both online and offline, from its early promises of a utopian “borderless” society, to one that perpetuates violence and codependent relationships between nations. 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This year's program, scheduled for February 14, 2025, Natalia Majluf, independent scholar, curator, and former director of the Museo de Arte de Lima, as the keynote speaker. Her presentation, titled \"Of Objects, Politics, and Ideas: Art and the Material Culture of Independence,\" will be followed by a reception for Latin American arts professionals attending CAA.\n\nThe ISLAA-ALAA Encuentro for Latin American Art aims to increase the visibility of Latin American art studies and support emerging scholars in the field. This annual gathering is held during CAA’s Annual Conference, the largest convening of art historians, artists, designers, curators, and visual arts professionals. The program invites an established scholar in Latin American or Latinx art to deliver a keynote address for all CAA attendees. 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This event will feature presentations by scholars Jens Andermann, Julia Detchon, and Daniel R. Quiles, as well as a conversation moderated by curator Laura Hakel. It will be followed by a reception and an opportunity to view the exhibition at ISLAA.\n\nThrough his uncompromising commitment to experimental practices and his pioneering investigations into ecology and power, Benedit became an influential figure in the global development of Conceptualism, cybernetics, and Systems art. His participation in the Buenos Aires–based Centro de Arte y Comunicación (CAYC) resulted in his iconic “habitats” (plexiglass environments for plants and animals), and led to the presentations of his large-scale installations at the 35th Venice Biennale and the Museum of Modern Art in the early 1970s. Situating Benedit’s practice in relation to his local and global contexts, the panelists will place his creative output in dialogue with the trailblazing work of other artists engaging with ecology, cybernetics, Systems art, and experimental practices in Latin America and beyond.\n\nThe event will take place at ISLAA, located at 142 Franklin Street in Tribeca. Seating is limited, and attendees are encouraged to register in advance. The program will be held in English, and a recording will be made available online after its conclusion.\n\n\nABOUT THE SPEAKERS\n\nJens Andermann is David B. Kriser Professor in the Humanities at New York University and an editor of the Journal of Latin American Cultural Studies and the book series SubAtlantic: Latin American, Caribbean, and Luso-African Ecologies. He writes about literature, film, art, and their interfaces with extractivism, memory, and survivance in the circum-South Atlantic. Andermann has taught at multiple universities in Europe and the Americas, including Birkbeck, University of London, Universidad de Buenos Aires, Universidade Federal do Rio de Janeiro, Universität Zürich, Duke University, Princeton University, and Columbia University. His recent publications include Jardín (Bifurcaciones, 2023); Entranced Earth: Art, Extractivism, and the End of Landscape (Northwestern, 2023; Spanish: Metales Pesados, 2018); New Argentine Cinema (I. B. Tauris, 2011; Spanish: Paidós, 2015); and The Optic of the State: Visuality and Power in Argentina and Brazil (Pittsburgh 2007; Portuguese: EdUERJ, 2014).\n\nJulia Detchon is a curatorial associate in Latin American art at the Museum of Modern Art. She has a PhD from the University of Texas, where her dissertation, \"Working Around: Lea Lublin, Marie Orensanz, Mirtha Dermisache, Margarita Paksa and the Active Spectator, 1968–1983,\" focused on the conceptual practices of four artists affiliated with the Centro de Arte y Comunicación. Her research has been supported by a Mellon International Dissertation Fellowship from the Social Science Research Council, a Fulbright Fellowship with the Instituto Interdisciplinario de Estudios de Género at the Universidad de Buenos Aires (IIEGE–UBA), and an Andrew W. Mellon Fellowship in Latin American Art at the Blanton Museum of Art. Before attending graduate school, she held curatorial positions at the National Gallery of Art, the Art Institute of Chicago, and the Mary and Leigh Block Museum.\n\nLaura Hakel is a curator, writer, and researcher. She is currently curator of the collection and artistic projects at the Fundación Ama Amoedo, Uruguay. 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Giunta, author of exhibition catalogue essay “A Gap in the Limits of the Possible” and professor of Latin American art, Universidad de Buenos Aires, discussed the work of Argentine artist Leandro Erlich, 2017 Roy R. 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An Exhibition about Art and Violence in Latin America (May 5–July 15, 2016).",[21347],{"start":3182,"end":14731,"type":112},[],[],{"id":21351,"uid":21352,"url":7,"type":8,"href":21353,"tags":21354,"first_publication_date":21355,"last_publication_date":21356,"slugs":21357,"linked_documents":21359,"lang":17,"alternate_languages":21360,"data":21361},"ZSSPMhAAACQApl8n","exhibition_partner-2019-dec-met-breuer-le-parc-1959","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZSSPMhAAACQApl8n%22%29+%5D%5D",[11],"2023-10-09T23:45:24+0000","2024-08-20T21:55:06+0000",[21358],"julio-le-parc-1959",[],[],{"title":21362,"subtitle":21363,"series":21367,"regions":21370,"date":21373,"end_date":21374,"location":21375,"institutions":21385,"exhibition_materials":21393,"in_the_news":21399,"artists":21402,"curators":21410,"art_movements":21418,"slices":21421,"meta_description":7,"meta_image":21451,"meta_title":7,"preview_image":21452,"preview_image_caption":21460,"preview_description":21465,"related_content":21468,"related_products":21471},"Julio Le Parc 1959",[21364],{"type":23,"text":21365,"spans":21366},"Curated by Iria Candela",[],[21368],{"series":21369},{"link_type":30},[21371],{"region":21372},{"link_type":30},"2018-12-04","2019-02-24",{"id":21376,"type":38,"tags":21377,"lang":17,"slug":21378,"first_publication_date":21379,"last_publication_date":21380,"uid":21381,"data":21382,"link_type":30,"key":21384,"isBroken":47},"ZSSP0BAAACMApmIR",[],"met-breuer","2023-10-09T23:42:11+0000","2023-10-19T21:41:30+0000","the-met-breuer",{"name":21383},"Met Breuer","76df2b65-3ef9-4416-9c39-6e62432002aa",[21386],{"institution":21387},{"id":21388,"type":327,"tags":21389,"lang":17,"slug":21378,"first_publication_date":21390,"last_publication_date":21391,"uid":21381,"link_type":30,"key":21392,"isBroken":47},"ZSSPrBAAACIApmFq",[],"2023-10-09T23:42:30+0000","2023-10-19T21:25:56+0000","f3ffbabd-055e-452d-b4ce-5dd3974d9f24",[21394],{"link":21395,"link_label":21398},{"link_type":73,"key":21396,"url":21397,"target":633},"0ab3aea9-0bbe-4501-9a10-0a57552fb48a","https://www.metmuseum.org/art/collection/search/816628?amp;ft=%2A&;oid=816628&;pg=0&;pkgids=541&;pos=13&;rpp=20&exhibitionId={98b35973-e36a-4fa7-be26-c1f3186ca4d2}&offset=20https://","Exhibition Website and Video",[21400],{"press_link":21401,"link_label":7},{"link_type":503},[21403],{"artist":21404},{"id":21405,"type":84,"tags":21406,"lang":17,"slug":21407,"first_publication_date":21408,"last_publication_date":21408,"uid":21407,"link_type":30,"key":21409,"isBroken":47},"ZSSPXxAAACIApl_-",[],"julio-le-parc","2023-10-09T23:40:18+0000","8312b1d9-e5be-471d-b024-2a55fa8f7326",[21411],{"curator":21412},{"id":21413,"type":84,"tags":21414,"lang":17,"slug":21415,"first_publication_date":21416,"last_publication_date":21416,"uid":21415,"link_type":30,"key":21417,"isBroken":47},"ZSSPjRAAACMApmDX",[],"iria-candela","2023-10-09T23:41:04+0000","a5ee7c15-9e13-4dac-9f91-cdfce2174baf",[21419],{"art_movement":21420},{"link_type":30},[21422],{"variation":101,"version":102,"items":21423,"primary":21425,"id":21450,"slice_type":147,"slice_label":7},[21424],{},{"text":21426},[21427,21432,21440,21444,21447],{"type":23,"text":21428,"spans":21429,"direction":26},"ISLAA is proud to be among the supporters of the first solo exhibition in a New York museum of Argentine artist Julio Le Parc (born 1928) at The Met Breuer. The show celebrates the artist’s extraordinary gift to The Met of 24 works and also marks the occasion of the artist’s 90th birthday. Featuring over 50 works, Julio Le Parc 1959 presents a substantial, never-before-seen selection of gouaches from one of the most prolific and transformative years in the artist’s career.\n",[21430],{"start":9161,"end":21431,"type":112},334,{"type":23,"text":21433,"spans":21434,"direction":26},"Born in Mendoza, Argentina, in 1928, Le Parc studied under Lucio Fontana during the 1940s and engaged with abstract avant-garde movements in Buenos Aires. In 1958, Le Parc moved to Paris, where his encounter with Op artists, such as Victor Vasarely, had an important influence on his art. The series of gouaches Le Parc started that year—intimate yet methodic studies of form and color—illuminates his interest in developing geometric abstraction by incorporating movement through variations, sequences, and progressions. This work anticipates his founding role in Kinetic art during the 1960s, when he made paintings and sculptures with movable parts by incorporating mirrors, motors, and electric light. Aiming to make art more accessible and politically relevant, Le Parc also experimented with projected lights in darkened rooms, adding a sense of playfulness and encouraging viewer participation. To represent this achievement, the show also includes the kinetic painting Form in Contortion over Weft (1966) and the immersive installation Continual Light Cylinder (1962/2018).",[21435,21437],{"start":21436,"end":13431,"type":112},977,{"start":21438,"end":21439,"type":112},1044,1068,{"type":23,"text":21441,"spans":21442,"direction":26},"Julio Le Parc 1959 is curated by Iria Candela, Estrellita B. Brodsky Curator of Latin American Art in the Department of Modern and Contemporary Art at The Met.",[21443],{"start":156,"end":157,"type":112},{"type":23,"text":21445,"spans":21446,"direction":26},"The exhibition is made possible by The Daniel and Estrellita Brodsky Foundation.",[],{"type":23,"text":21448,"spans":21449,"direction":26},"Additional support is provided by Tony Bechara, the Institute for Studies on Latin American Art (ISLAA), and the Latin American Art Initiative of The Metropolitan Museum of Art.",[],"single_column_content$31984ab6-9972-4f16-b46d-c853ef2d8ff0",{},{"dimensions":21453,"alt":21456,"copyright":7,"url":21457,"id":21458,"edit":21459},{"width":21454,"height":21455},1734,1746,"Painting of geometric shapes in a grid formation by Julio Le Parc","https://images.prismic.io/islaa/0efd2966-3154-44a0-b721-082fa03197c3_Screen-Shot-2022-01-03-at-3.58.10-PM.jpg?auto=compress,format","ZSSQNhAAACUApmPw",{"x":156,"y":156,"zoom":172,"background":915},[21461],{"type":23,"text":21462,"spans":21463},"Julio Le Parc, Rotación en Rojo y Negro (Rotation in Red and Black), 1959. Gouache on cardboard. 16 1/8 × 16 1/8 in.",[21464],{"start":281,"end":135,"type":112},[21466],{"type":23,"text":21362,"spans":21467},[],[21469],{"page":21470},{"link_type":30},[21472],{"shopify_product_handle":7},{"id":21474,"uid":21475,"url":7,"type":464,"href":21476,"tags":21477,"first_publication_date":21478,"last_publication_date":21479,"slugs":21480,"linked_documents":21482,"lang":17,"alternate_languages":21483,"data":21484},"ZejvvhEAACQAX_-7","emily-lyver--blanca-serrano-ortiz-de-solorzano","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZejvvhEAACQAX_-7%22%29+%5D%5D",[11],"2024-03-19T13:20:37+0000","2024-06-22T19:38:43+0000",[21481,21475],"south-and-about-with-emily-lyver-and-blanca-serrano-ortiz-de-solorzano",[],[],{"title":21485,"series":21486,"hero_image":21491,"hero_caption":21504,"location":21505,"date":21506,"end_date":7,"institutions":21507,"linked_material":21512,"slices":21515,"meta_description":7,"meta_image":21558,"meta_title":7,"preview_image":21559,"preview_description":21574,"preview_image_caption":21577,"related_content":21578,"related_products":21579},"South and About! with Emily Lyver and Blanca Serrano Ortiz de Solórzano",[21487],{"series":21488},{"id":10095,"type":1366,"tags":21489,"lang":17,"slug":10097,"first_publication_date":10098,"last_publication_date":10098,"uid":10097,"link_type":30,"key":21490,"isBroken":47},[],"2bdd1356-3c18-40dc-993a-874395ac5e10",{"dimensions":21492,"alt":10104,"copyright":7,"url":21493,"id":21494,"edit":21495,"Square":21496,"Horizontal":21500},{"width":10102,"height":10103},"https://images.prismic.io/islaa/6d3d6c16-853b-4909-8a6e-f151f51a029c_Event_South+and+About_Hero+Image_2017.jpg?auto=compress,format","ZejpOREAACQAX-Kc",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":21497,"alt":7,"copyright":7,"url":21498,"id":21494,"edit":21499},{"width":266,"height":266},"https://images.prismic.io/islaa/6d3d6c16-853b-4909-8a6e-f151f51a029c_Event_South+and+About_Hero+Image_2017.jpg?auto=compress,format&rect=593,0,628,628&w=500&h=500",{"x":10112,"y":156,"zoom":10113,"background":915},{"dimensions":21501,"alt":7,"copyright":7,"url":21502,"id":21494,"edit":21503},{"width":266,"height":272},"https://images.prismic.io/islaa/6d3d6c16-853b-4909-8a6e-f151f51a029c_Event_South+and+About_Hero+Image_2017.jpg?auto=compress,format&rect=383,0,1047,628&w=500&h=300",{"x":10118,"y":156,"zoom":10119,"background":915},[],{"link_type":30},"2017-11-30",[21508],{"institution":21509},{"id":10126,"type":327,"tags":21510,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":21511,"isBroken":47},[],"fefe528b-baa5-4a7c-b84d-a511a559f5a0",[21513],{"link":21514,"link_label":7},{"link_type":503},[21516,21534,21546],{"variation":101,"version":102,"items":21517,"primary":21532,"id":21533,"slice_type":10148,"slice_label":7},[21518,21525],{"category":10248,"value":21519},{"id":21520,"type":84,"tags":21521,"lang":17,"slug":21522,"first_publication_date":21523,"last_publication_date":21523,"uid":21522,"link_type":30,"key":21524,"isBroken":47},"ZejvzBEAACQAX__6",[],"emily-lyver","2024-03-06T22:36:00+0000","8b692e01-1173-4195-95df-21a5023f72e7",{"category":10248,"value":21526},{"id":21527,"type":84,"tags":21528,"lang":17,"slug":21529,"first_publication_date":21530,"last_publication_date":21530,"uid":21529,"link_type":30,"key":21531,"isBroken":47},"Zejv4BEAACUAYABY",[],"blanca-serrano-ortiz-de-solorzano","2024-03-06T22:36:20+0000","50c54298-8155-4c29-a226-091c575988ce",{},"credits$e2e598d6-c837-442a-8d3d-56bb0d79efe0",{"variation":101,"version":102,"items":21535,"primary":21537,"id":21545,"slice_type":522,"slice_label":7},[21536],{},{"text":21538},[21539,21542],{"type":23,"text":21540,"spans":21541},"Emily Lyver, PhD candidate, Institute of Fine Arts, NYU\n“Figuring Mexico City in the NAFTA Era”",[],{"type":23,"text":21543,"spans":21544},"Blanca Serrano Ortiz de Solórzano, PhD graduate, Institute of Fine Arts, NYU\n“Between Limit and Possibility: Bricolage, Construction, and Restoration in 1990s Art from Cuba”",[],"text$ffc7a4fa-5367-4b3c-9552-50785b8c1e55",{"variation":101,"version":102,"items":21547,"primary":21549,"id":21557,"slice_type":522,"slice_label":7},[21548],{},{"text":21550},[21551],{"type":23,"text":21552,"spans":21553},"ABOUT SOUTH AND ABOUT!\nSouth and About! is a student-organized research workshop on the arts from Latin America and the Caribbean. This program invites graduate students and emerging scholars in art history and related disciplines to participate in informal discussions among their peers. The thematic focus is broad and welcomes interdisciplinary methodological approaches, including, but not limited to, temporal and geographic proposals of an innovative nature. The workshop seeks to foster and strengthen further interconnections within research communities via creative intellectual exchanges. Established by ISLAA and The Institute of Fine Arts in 2017, South and About! happens twice every semester and it takes place at The Institute of Fine Arts NYU. Speakers are selected by the student organizers.",[21554,21555],{"start":156,"end":2546,"type":407},{"start":10175,"end":12840,"type":630,"data":21556},{"link_type":73,"url":10178,"target":633},"text$d6855311-d1d9-47eb-9a9a-abdd39cdc758",{},{"dimensions":21560,"alt":10104,"copyright":7,"url":21493,"id":21494,"edit":21561,"Square - Large":21562,"Square - Small":21568,"Horizontal":21571},{"width":10102,"height":10103},{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":21563,"alt":7,"copyright":7,"url":21564,"id":21494,"edit":21565},{"width":260,"height":260},"https://images.prismic.io/islaa/6d3d6c16-853b-4909-8a6e-f151f51a029c_Event_South+and+About_Hero+Image_2017.jpg?auto=compress,format&rect=592,0,628,628&w=1000&h=1000",{"x":21566,"y":156,"zoom":21567,"background":915},-943,1.5923566878980893,{"dimensions":21569,"alt":7,"copyright":7,"url":21498,"id":21494,"edit":21570},{"width":266,"height":266},{"x":10112,"y":156,"zoom":10113,"background":915},{"dimensions":21572,"alt":7,"copyright":7,"url":21502,"id":21494,"edit":21573},{"width":266,"height":272},{"x":10118,"y":156,"zoom":10119,"background":915},[21575],{"type":23,"text":10186,"spans":21576},[],[],[],[],{"id":21581,"uid":21582,"url":7,"type":464,"href":21583,"tags":21584,"first_publication_date":21585,"last_publication_date":21586,"slugs":21587,"linked_documents":21589,"lang":17,"alternate_languages":21590,"data":21591},"Zfr13BEAACIAnmPB","the-eighth-annual-symposium-of-latin-american-art","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Zfr13BEAACIAnmPB%22%29+%5D%5D",[11],"2024-03-25T19:40:25+0000","2024-05-13T19:46:02+0000",[21582,21588],"a-matter-of-time-chronodissidence-in-the-americas",[],[],{"title":21592,"series":21593,"hero_image":21598,"hero_caption":21615,"location":21619,"date":21623,"end_date":21624,"institutions":21625,"linked_material":21638,"slices":21641,"meta_description":7,"meta_image":21927,"meta_title":7,"preview_image":21928,"preview_description":21943,"preview_image_caption":21947,"related_content":21948,"related_products":21949},"The Eighth Annual Symposium of Latin American Art",[21594],{"series":21595},{"id":14336,"type":1366,"tags":21596,"lang":17,"slug":14338,"first_publication_date":14339,"last_publication_date":14339,"uid":14338,"link_type":30,"key":21597,"isBroken":47},[],"e540aea9-1e8a-4fde-8735-4dcb97bbafd8",{"dimensions":21599,"alt":7,"copyright":7,"url":21600,"id":21601,"edit":21602,"Square":21603,"Horizontal":21609},{"width":1868,"height":1869},"https://images.prismic.io/islaa/0616b750-407b-4087-9208-f87bbdddf026_Event_Eighth+Annual+Symposium_Hero+Image_04.24.jpg?auto=compress,format","Zfs1qxEAACAAn4Tm",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":21604,"alt":7,"copyright":7,"url":21605,"id":21601,"edit":21606},{"width":266,"height":266},"https://images.prismic.io/islaa/0616b750-407b-4087-9208-f87bbdddf026_Event_Eighth+Annual+Symposium_Hero+Image_04.24.jpg?auto=compress,format&rect=419,0,1080,1080&w=500&h=500",{"x":21607,"y":156,"zoom":21608,"background":915},-194,0.46296296296296297,{"dimensions":21610,"alt":7,"copyright":7,"url":21611,"id":21601,"edit":21612},{"width":266,"height":272},"https://images.prismic.io/islaa/0616b750-407b-4087-9208-f87bbdddf026_Event_Eighth+Annual+Symposium_Hero+Image_04.24.jpg?auto=compress,format&rect=61,0,1800,1080&w=500&h=300",{"x":21613,"y":156,"zoom":21614,"background":915},-17,0.2777777777777778,[21616],{"type":23,"text":21617,"spans":21618},"Participants at the Seventh Annual Symposium on Latin American Art, James B. Duke House, the Institute of Fine Arts, New York University, 2023. Photo: William Kitchings",[],{"id":37,"type":38,"tags":21620,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":21621,"link_type":30,"key":21622,"isBroken":47},[],{"name":45},"2e8da47f-7dc7-4b43-8665-ec67478861b0","2024-04-12","2024-04-13",[21626,21630,21634],{"institution":21627},{"id":10126,"type":327,"tags":21628,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":21629,"isBroken":47},[],"5e5b6d73-417b-42c3-9f1d-75743b40c516",{"institution":21631},{"id":11223,"type":327,"tags":21632,"lang":17,"slug":11225,"first_publication_date":11226,"last_publication_date":11227,"uid":11228,"link_type":30,"key":21633,"isBroken":47},[],"6c70c6e5-c7da-47c0-943f-aed6597ca21e",{"institution":21635},{"id":10234,"type":327,"tags":21636,"lang":17,"slug":10236,"first_publication_date":10237,"last_publication_date":10238,"uid":10239,"link_type":30,"key":21637,"isBroken":47},[],"1caf14d1-56ad-4949-98b9-1df3289f739a",[21639],{"link":21640,"link_label":7},{"link_type":503},[21642,21661,21671,21699,21708,21724,21894],{"variation":101,"version":102,"items":21643,"primary":21645,"id":21660,"slice_type":522,"slice_label":7},[21644],{},{"text":21646},[21647,21651,21657],{"type":23,"text":21648,"spans":21649},"A Matter of Time: Chronodissidence in the Americas",[21650],{"start":156,"end":180,"type":407},{"type":23,"text":21652,"spans":21653},"ISLAA is delighted to present the Eighth Annual Symposium of Latin American Art, “A Matter of Time: Chronodissidence in the Americas.” Held on April 12 and April 13, 2024, the Annual Symposium will be hosted by ISLAA for the first time since the program was established in 2016. RSVP here.",[21654],{"start":11633,"end":14518,"type":630,"data":21655},{"link_type":73,"url":21656,"target":633},"https://forms.gle/Yy1SGSPd4JimQv6N6",{"type":23,"text":21658,"spans":21659},"This year, the symposium is titled “A Matter of Time: Chronodissidence in the Americas” featuring poet, essayist, playwright, and professor Leda Maria Martins as its keynote speaker. “A Matter of Time: Chronodissidence in the Americas” invited proposals from artists, activists, graduate students, and emerging scholars whose work channels flexible, nonlinear, and otherwise “errant” temporalities. The symposium welcomes scholarly and artistic considerations of time as matter, method, and approach. The theme expands on Miguel A. López’s concept of chronodissidence (introduced in an essay on Peruvian artist Teresa Burga), which he defines as “practices that subvert, differ from, or dismantle… the dominant model of time that turns asymmetrical power regimes into apparently normal routines.” Seeking critical responses to the ways art and visual culture trouble time’s encoding of racialized, colonial, and gendered logics, “A Matter of Time” will open a conversation around unfixed temporalities that evince plurality, experimentation, and resistance.",[],"text$82b1db7d-e36b-4ca5-8236-a166f7bfba6f",{"variation":101,"version":102,"items":21662,"primary":21664,"id":21670,"slice_type":522,"slice_label":7},[21663],{},{"text":21665},[21666],{"type":23,"text":21667,"spans":21668},"KEYNOTE LECTURE\nLeda Maria Martins, \"Inscribing Spiral Time and Memory as a Subversive Ecology System: Disrupting Colonial Knowledge.\"",[21669],{"start":156,"end":901,"type":407},"text$610ed9c7-f49f-45d9-92e1-22e594a83ad4",{"variation":101,"version":102,"items":21672,"primary":21674,"id":21698,"slice_type":522,"slice_label":7},[21673],{},{"text":21675},[21676,21679,21687,21690,21696],{"type":23,"text":14712,"spans":21677},[21678],{"start":156,"end":157,"type":407},{"type":23,"text":21680,"spans":21681},"Day 1\nFriday, April 12, 2024\n\n2:30 PM – Registration\n\n3:00 PM – Panel 1 | \"Locating Time, Placing Time: Geographies and Temporal Framings of Space\"\n\nRespondent: Luis Carranza, Professor of Architecture and of Art and Architectural History, Roger Williams University\n\n\"Idealization and Inadequacy: From José Sabogal to las barriadas\"\nMadeleine Aquilina, PhD candidate, University of Michigan\n\n\"Looping Violence and Temporal Insurgencies in Colombian Contemporary Art\"\nNicole Cartier Barrera, independent researcher\n\n\"When I Am Not Here, Estoy Allá: Visualizing Expansive Space-Time in Caribbean Diasporic Memory\"\nKaillee Coleman, PhD student, Tulane University\n\n5:00 PM – Tour of Threads to the South by Olivia Casa, Curator and Exhibition Program Manager, ISLAA\n\n6:00 PM – Cocktail reception\n\n\nDay 2\nSaturday, April 13, 2024\n\n9:30 AM Registration\n\n10:00 AM – Panel 2 | \"Against the Colonial Grain: Indigenous Temporalities and Potential Histories\"\n\nRespondent: Carla Macchiavello, Associate Professor of Art History, Borough of Manhattan Community College, the City University of New York\n\n\"Indigenous History and Material Culture and its Absence in the Historiography of 19th Century Central American Art: Rethinking Colonial Historical Narratives through the Case of Totonicapán\"\nLeonardo Santamaría Montero, PhD student, Cornell University\n\n\"Prácticas transtemporales del Futurismo Andino y su resultado en el arte andino reciente\"\nAlan Paul Poma Macedo, independent artist\n\n\"Against the Arrow of Progress: Gê Viana’s Traumatic Updates\"\nSusana Costa Amaral, PhD candidate, New York University\n\n12:00 – 2:00 PM BREAK\n\n2:00 PM – Panel 3 | \"Spilling Over: Ornament, Excess, and Unfixed Temporalities\"\n\nRespondent: Celiany Rivera Velázquez, Research Associate at Centro, the Center for Puerto Rican Studies at Hunter College\n",[21682,21683,21686],{"start":9782,"end":12015,"type":112},{"start":21684,"end":21685,"type":112},536,546,{"start":5255,"end":11411,"type":112},{"type":23,"text":21688,"spans":21689},"\"Boa Baroque: Temporal and Corporal Intersections between Tupinambá and Jesuits in the 17th-Century Amazon\"\nMateus Carvalho Nunes, postdoctoral researcher, Universidade de São Paulo\n\n\"Death Is a Drag: Performatic Encounters and Gambiarra Rhythms\"\nGustavo Haiden de Lacerda, PhD student, McGill University\n\n\"Yanomami Cosmology and the Time of Hojarasca in the Work of Sheroanawë Hakihiiwë\"\nElvira Blanco, PhD candidate, Columbia University\n\n4:00 PM – Keynote by Leda Maria Martins, Professor of Literature, Arts and Sciences, Universidade Federal de Minas Gerais\n\n",[],{"type":23,"text":21691,"spans":21692},"The Symposium will be held in-person at ISLAA. RSVP here.",[21693,21694],{"start":156,"end":6419,"type":407},{"start":3605,"end":3635,"type":630,"data":21695},{"link_type":73,"url":21656,"target":633},{"type":23,"text":138,"spans":21697},[],"text$924eba63-42b0-4143-a9ee-806d90669fef",{"variation":101,"version":102,"items":21700,"primary":21702,"id":21707,"slice_type":522,"slice_label":7},[21701],{},{"text":21703},[21704],{"type":23,"text":21705,"spans":21706},"The Eighth Annual Symposium of Latin American Art is organized by Ana Luiza de Abreu Claudio and Luise Malmaceda (Columbia University), Suzie Oppenheimer and Laura C. Suárez Rodríguez (the Graduate Center, City University of New York), and Cristalina Parra and Joseph Shaikewitz (Institute of Fine Arts, New York University). The faculty advisors are Jerónimo Duarte-Riascos, assistant professor in the Department of Latin American and Iberian Cultures, Columbia University; Anna Indych-López, professor of art history at the Graduate Center and the City College at the City University of New York; and Edward J. Sullivan, Helen Gould Shepard Professor in the History of Art, Institute of Fine Arts, New York University. Blanca Serrano Ortiz de Solórzano, project director at ISLAA, offers additional advisory support.",[],"text$2d4a25f2-cbc4-4751-9bab-cd40b59c8ce3",{"variation":101,"version":102,"items":21709,"primary":21711,"id":21723,"slice_type":522,"slice_label":7},[21710],{},{"text":21712},[21713,21717],{"type":23,"text":21714,"spans":21715},"ABOUT THE ANNUAL SYMPOSIUM OF LATIN AMERICAN ART",[21716],{"start":156,"end":937,"type":407},{"type":23,"text":21718,"spans":21719},"Established in 2016, the Annual Symposium features graduate students, scholars, and artists who present original research and discourse on Latin American and Latinx art and visual culture. This international event is supported by ISLAA and organized by graduate students at the Institute of Fine Arts, New York University; the Graduate Center, City University of New York; and Columbia University. For further information or any questions, please contact latamartsymposium@gmail.com.",[21720],{"start":9239,"end":16433,"type":630,"data":21721},{"link_type":73,"url":21722},"mailto:latamartsymposium@gmail.com","text$ede2f182-2240-48e0-8993-f6f549cbd52a",{"variation":101,"version":102,"items":21725,"primary":21727,"id":21893,"slice_type":522,"slice_label":7},[21726],{},{"text":21728},[21729,21733,21735,21739,21742,21744,21748,21759,21761,21765,21771,21773,21777,21783,21785,21789,21792,21794,21798,21801,21803,21807,21810,21812,21816,21821,21823,21827,21840,21842,21846,21854,21856,21860,21871,21873,21877,21882,21884,21888],{"type":23,"text":21730,"spans":21731},"PARTICIPANTS",[21732],{"start":156,"end":967,"type":407},{"type":23,"text":138,"spans":21734},[],{"type":23,"text":21736,"spans":21737},"Madeleine Aquilina",[21738],{"start":156,"end":157,"type":407},{"type":23,"text":21740,"spans":21741},"Madeleine Aquilina is a PhD candidate in the History of Art Department at the University of Michigan. She is currently writing a dissertation on postwar social housing in Peru and its imbrication in questions of indigeneity. Her research has been supported by the Rackham School of Graduate Studies and the International Institute at the University of Michigan. She is also the recipient of a Fulbright-Hays Doctoral Research Award. Additionally, she is an active member of the Graduate Employees’ Organization at the University of Michigan.",[],{"type":23,"text":138,"spans":21743},[],{"type":23,"text":21745,"spans":21746},"Elvira Blanco",[21747],{"start":156,"end":2640,"type":407},{"type":23,"text":21749,"spans":21750},"Elvira Blanco is a PhD candidate in the Department of Latin American and Iberian Cultures at Columbia University, where she is writing a dissertation titled “Imaginaries of the Common in Contemporary Venezuela (2010–2022).” Her work focuses on the Greater Caribbean region and combines political theory and history, film and visual studies, studies in popular religion, and ecocriticism. Blanco’s writing has been published in journals such as A Contracorriente, Ciberletras, and Trópico Absoluto, and she currently serves as acting managing editor of Revista Hispánica Moderna.",[21751,21753,21755,21757],{"start":9163,"end":21752,"type":112},461,{"start":9564,"end":21754,"type":112},474,{"start":21756,"end":10040,"type":112},480,{"start":6427,"end":21758,"type":112},577,{"type":23,"text":138,"spans":21760},[],{"type":23,"text":21762,"spans":21763},"Luis E. Carranza",[21764],{"start":156,"end":901,"type":407},{"type":23,"text":21766,"spans":21767},"Luis E. Carranza is an architect and historian whose research work and teaching focuses on modern architecture and art in Latin America, with an emphasis on Mexico. He is currently a professor at Roger Williams University, an adjunct associate professor at Columbia University’s Graduate School of Architecture, Planning and Preservation; and a visiting professor at the Yale School of Architecture. He obtained his BArch from the University of Southern California and his PhD in architectural history and theory from Harvard University. His publications include Modern Architecture in Latin America: Art, Technology, Utopia, with Fernando Lara (University of Texas Press, 2015), Radical Functionalism: A Social Architecture for Mexico (Routledge, 2021), and Ephemeral Architectures and Falsified Cities: Utopian Visions for Latin America (forthcoming). His current research addresses the radical work of the Mexican architect Carlos Lazo for Mexico’s Secretaría de Comunicaciones y Obras Públicas (Department of Communications and Public Works) and his interest in planning, biopolitics, and the design and production of “civilized caves” as new housing prototypes. Additionally, Carranza is cocurator of the Barragán Gallery at the Vitra Design Museum.",[21768,21769,21770],{"start":9906,"end":9604,"type":112},{"start":8496,"end":10418,"type":112},{"start":123,"end":13251,"type":112},{"type":23,"text":138,"spans":21772},[],{"type":23,"text":21774,"spans":21775},"Nicole Cartier Barrera",[21776],{"start":156,"end":2610,"type":407},{"type":23,"text":21778,"spans":21779},"Nicole Cartier Barrera is a researcher, writer, and curator who, through collaborative and independent editorial projects, investigates contemporary visual culture in Latin America, exploring notions such as the construction of the political other, the ethical implications of the representation of violence, and strategies for collective memory reconstruction. She holds a master of visual studies from the University of Toronto, and her most recent project, Guía para los afligidos y desobedientes (A Guide for the Afflicted and Defiant), can be found at www.guiaparalosafligidos.com.",[21780],{"start":12643,"end":13302,"type":630,"data":21781},{"link_type":73,"url":21782},"http://www.guiaparalosafligidos.com/",{"type":23,"text":138,"spans":21784},[],{"type":23,"text":21786,"spans":21787},"Mateus Carvalho Nunes",[21788],{"start":156,"end":179,"type":407},{"type":23,"text":21790,"spans":21791},"Mateus Carvalho Nunes is a curator, writer, and postdoctoral researcher born and raised in Belém, in the Brazilian Amazon. Currently based in São Paulo, Carvalho Nunes holds a PhD in art history from the Universidade de Lisboa and is a postdoctoral fellow at the Universidade de São Paulo and at the Getty Foundation. His research focuses on cultural hybridisms in the architectural and artistic production in the Colonial Amazon, particularly in seventeenth- and eighteenth-century Pará. Nunes is a guest lecturer at the Universidade de São Paulo and the Museu de Arte de São Paulo, where he teaches about contemporary art in the Brazilian Amazon and Brazilian Baroque.",[],{"type":23,"text":138,"spans":21793},[],{"type":23,"text":21795,"spans":21796},"Kaillee Coleman",[21797],{"start":156,"end":281,"type":407},{"type":23,"text":21799,"spans":21800},"Kaillee Coleman is a PhD student in the Latin American studies and art history program at Tulane University. Her research focuses on contemporary Caribbean art and cultural production, with a special emphasis on the Black Atlantic and diaspora studies. She holds an MA in Latin American Studies from Tulane University and undergraduate degrees in art history and interdisciplinary art (with specializations in visual art and theatre) from Seattle University. From 2021 to 2022, she was the recipient of the US Department of Education Foreign Language and Area Studies (FLAS) Fellowship in Haitian Creole. Additionally, she was the 2022–23 recipient of the William J. Griffith Award for Outstanding Teaching Assistant in Latin American Studies, awarded by the Stone Center for Latin American Studies at Tulane University. In addition to her research, Coleman works as an associate editor for Keywords for Black Louisiana, as a curatorial assistant at the Newcomb Art Museum, and as an archival assistant and metadata specialist for the forthcoming Stone Center for Latin American Studies Centennial Project, which celebrates 100 years of Latin American programming at Tulane University.",[],{"type":23,"text":138,"spans":21802},[],{"type":23,"text":21804,"spans":21805},"Susana Costa Amaral",[21806],{"start":156,"end":2665,"type":407},{"type":23,"text":21808,"spans":21809},"Susana Costa Amaral, originally from Brazil, has lived and worked in New York since 2018. Costa works at the crossroads of performance and politics, critical race theory, visual arts, and queer studies, Costa Amaral believes academia can be a place where ethical alliances foster anticolonial strategies. She holds an MA in performing Arts and a BA in communication and culture from the Universidade Federal do Rio de Janeiro. Costa Amaral is currently a doctoral candidate at New York University in the Department of Spanish and Portuguese. Her upcoming dissertation, 'Despite Brazil: Contemporary Art in the Age of the Far Right,' co-fabulates with a group of young Brazilian artists by asking how their work intersects with questions of time, movement, and corporality. She has presented her research at conferences, art residencies, and exhibitions across Latin America, Europe, and the US. In 2022, Costa Amaral was a visiting fellow at the Global Research Institute in Berlin. In 2024, she will join the Department of Art and Archaeology at Princeton University as a Presidential Postdoctoral Research Fellow. At the time of this symposium, over 32,975 Palestinians have been killed as a consequence of the Israeli assault on Gaza, a war supported and financed by the US, and Costa Amaral thinks this too is worthy of note.",[],{"type":23,"text":138,"spans":21811},[],{"type":23,"text":21813,"spans":21814},"Gustavo Haiden de Lacerda",[21815],{"start":156,"end":2681,"type":407},{"type":23,"text":21817,"spans":21818},"Gustavo Haiden de Lacerda is currently a PhD student in Communication Studies at McGill University, Montreal. He obtained both his MA and his BA in language studies from the Universidade Estadual de Maringá, Brazil. Situated at the intersections of queer theory and psychoanalysis, his doctoral research investigates assemblages of queerness, death, and photography and their impacts on aesthetic and political regimes. In between media and art, Gustavo’s previous projects have analyzed the discursive and affective dimensions of different materialities, including literature, cinema, and mourning writings in digital networks. His work has been published in academic journals and books, with a forthcoming book chapter, “Between Silence and Silencing, Stories are Told,” slated for publication in the Handbook of Queer Death Studies (Routledge).",[21819],{"start":16447,"end":21820,"type":112},834,{"type":23,"text":138,"spans":21822},[],{"type":23,"text":21824,"spans":21825},"Carla Macchiavello",[21826],{"start":156,"end":157,"type":407},{"type":23,"text":21828,"spans":21829},"Carla Macchiavello Cornejo is an art historian and educator, born in Santiago and based in New York. Her research focuses on Latin American contemporary art, exploring networks of solidarity and resistance, migrant identities in video art, artistic pedagogies, and art practices aimed at social and environmental change. Her work has been published in international journals, catalogues, and books. She serves as coeditor for the periodical Más allá del fin/Beyond the End for Ensayos, a nomadic research collective dedicated to the political ecology of Tierra el Fuego. She is part of the creative team of Turba Tol Hol Hol Tol, which represented Chile at the 59th International Venice Biennale in 2022. That year, she co-edited its “rumors” and book, Turba Tol Hol-Hol. Macchiavello Cornejo is coeditor of Dismantling the Nation: Contemporary Art in Chile, with Florencia San Martín and Paula Solimano, a book that takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing alternative forms of inhabiting, creating, and relating in more fluid, contingent, ecocritical, feminist, and caring worlds.",[21830,21833,21835,21838],{"start":21831,"end":21832,"type":112},441,473,{"start":17378,"end":21834,"type":112},770,{"start":21836,"end":21837,"type":112},808,830,{"start":14964,"end":21839,"type":112},857,{"type":23,"text":138,"spans":21841},[],{"type":23,"text":21843,"spans":21844},"Leda Maria Martins",[21845],{"start":156,"end":157,"type":407},{"type":23,"text":21847,"spans":21848},"Leda Maria Martins is a poet, essayist, playwright, and professor. She holds a PhD in comparative literature from the Universidade Federal de Minas Gerais (UFMG) and an MA from Indiana University. Her extensive academic background includes postdoctoral fellowships in performance studies at New York University’s Tisch School of the Arts (1999–2000) and Performance and Rituals at the Universidade Federal Fluminense (UFF, 2000). Martins was a professor at UFMG from 1993 to 2018, and at the Universidade Federal de Ouro Preto (1982–92), a visiting professor at the Tisch School of the Arts, and she is currently a visiting professor in the Psychology Department at UFF (2023–24). Additionally, she served as director of cultural action at UFMG between 2014 and 2018. Martins has published books, chapters, and essays in Brazilian and international publications. Some notable works include Performances do Tempo Espiralar: poéticas do corpo-tela (Cobogó, 2021), Afrografias da Memória (2nd revised and updated edition, Perspectiva/Mazza, 2021), A Cena em Sombras (2nd revised edition, Perspectiva, 2023), and more. Under her leadership, the Banco de Desenvolvimento de Minas Gerais established and sponsored the Leda Maria Martins Award for Black Performing Arts in 2017. In 2022, she received the Milú Villela Award in the learning category from the Itaú Cultural Foundation, and in 2023, the Funarte Award for Master of Integrated Arts. Since 2005, she has held the distinguished position of Queen of Our Lady of Mercies of the Brotherhood of Our Lady of the Rosary of Jatobá in Belo Horizonte. ",[21849,21851,21852],{"start":4671,"end":21850,"type":112},945,{"start":17259,"end":378,"type":112},{"start":21438,"end":21853,"type":112},1062,{"type":23,"text":138,"spans":21855},[],{"type":23,"text":21857,"spans":21858},"Alan Poma",[21859],{"start":156,"end":9683,"type":407},{"type":23,"text":21861,"spans":21862},"Alan Poma is a multidisciplinary artist known for his site-specific projects and performances, which integrate performance, video art, live music, and writing. In recent years, Poma has explored the connection between Andean culture and the avant-garde tradition through his adaptation of the Futurist Russian Opera Victory over the Sun (1913). He investigated these connections during his residency at the Delfina Foundation, which culminated in an installation inspired by P. Wyndham Lewis’s painting Inca with Bird (1933). In 2019 he published “The Andean Futurist Manifesto,” which outlines a methodology for artists to envision Andean futures. Poma has served as visiting faculty at the California Institute of the Arts, leading a seminar on Andean Futurism. Additionally, he has delivered lectures at Emily Carr University (Vancouver), University of Gothenburg (Sweden), and Portland State University. Currently, he collaborates with LaPau Gallery from Los Angeles on an experimental opera based on El Pez de Oro, an iconic book within the Indigenous avant-garde tradition of southern Peru.",[21863,21864,21867,21869],{"start":9161,"end":11424,"type":112},{"start":21865,"end":21866,"type":112},324,336,{"start":21868,"end":11408,"type":112},503,{"start":13431,"end":21870,"type":112},1018,{"type":23,"text":138,"spans":21872},[],{"type":23,"text":21874,"spans":21875},"Celiany Rivera Velázquez",[21876],{"start":156,"end":628,"type":407},{"type":23,"text":21878,"spans":21879},"Celiany Rivera Velázquez (she/they; ella/elle) is a Puerto Rican scholar and organizer with in-depth experience in alternative gender and sexuality movements across the Spanish-speaking Caribbean and the US. Serving as a research associate at CUNY-Hunter College's Center for Puerto Rican Studies, Velázquez earned a PhD from the University of Illinois at Urbana-Champaign in 2011. Since 2004, Velázquez has collaborated closely with queer and nonbinary artists from Cuba, the Dominican Republic, and Puerto Rico, exploring Caribbean race and gender performance through the arts. Velázquez directed Queen of Myself: Las Krudas d’ Cuba, a documentary that premiered at the Brooklyn Museum in 2012. In 2018, they founded Circuito Queer (@cirqpr), an NGO promoting collaborations among activist and cultural initiatives by feminist, LGBTQIA+, and cuir leaders in Puerto Rico and the Dominican Republic. Velázquez is currently developing a manuscript titled “De un Pájaro Las Dos Patas,” focusing on queer/cuir media and performance in Santo Domingo and San Juan. This work aims to showcase the rise of sexual and body positivity against traditional norms, introducing the concept of “irreverencia cuir” to encapsulate a shift toward inclusive, participatory expressions of cuir joy in the Spanish-speaking Caribbean.",[21880],{"start":21881,"end":12647,"type":112},599,{"type":23,"text":138,"spans":21883},[],{"type":23,"text":21885,"spans":21886},"Leonardo Santamaría Montero",[21887],{"start":156,"end":402,"type":407},{"type":23,"text":21889,"spans":21890},"Leonardo Santamaría Montero is a PhD student in the history of art at Cornell University. He holds a BA and a Licentiate degree in Art History from the Universidad de Costa Rica, where he will return as a professor after completing his doctoral studies. Santamaría specializes in Latin American art, specifically nineteenth-century Central American visual and material culture, with a focus on Indigenous aesthetics and their representations. His work examines the transformation of Central American visual identities during the transition from colonial to republican rule, with a particular interest in the sociopolitical uses of pre-Columbian objects and contemporary Indigenous material culture in that process. Santamaría has presented his work at conferences such as the Comite International d’Histoire de I’Art World Congress, the Association for Latin American Art Triennial Conference, and the Native American Art Studies Association Conference. Santamaría is currently interning at the Herbert F. Johnson Museum of Art, where he recently served as a research assistant in the exhibition by Guadalupe Maravilla: Armonía de la Esfera, working specifically with Cornell’s collections of pre-Hispanic objects.",[21891],{"start":21892,"end":13257,"type":112},1120,"text$209a8b08-451b-42d4-883c-5ac28aa316da",{"variation":101,"version":102,"items":21895,"primary":21925,"id":21926,"slice_type":243,"slice_label":7},[21896,21907,21916],{"image":21897,"image_caption":21903},{"dimensions":21898,"alt":7,"copyright":7,"url":21900,"id":21901,"edit":21902},{"width":7345,"height":21899},5100,"https://images.prismic.io/islaa/f1cbdf68-5c0a-4d25-85a3-c8c78533101d_Event_8th+Annual+Symposium_Vertical+Poster+English_04.2024.jpg?auto=compress,format","ZgGTehEAAB8A-qFP",{"x":156,"y":156,"zoom":172,"background":915},[21904],{"type":23,"text":21905,"spans":21906},"Dolan 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work channels flexible, nonlinear, and otherwise “errant” 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Photograph by Wustavo Quiroga",[],{"link_type":30},"2023-12-14","2024-01-21",[22568],{"institution":22569},{"link_type":30},[22571,22619],{"variation":101,"version":102,"items":22572,"primary":22573,"id":22618,"slice_type":522,"slice_label":7},[],{"text":22574},[22575,22579,22582,22585,22588,22591,22597,22600,22602,22606,22609,22612],{"type":23,"text":22576,"spans":22577},"Call for Proposals DEADLINE EXTENDED: January 21, 2024",[22578],{"start":156,"end":405,"type":407},{"type":23,"text":22580,"spans":22581},"ISLAA Writer in Residence Winter 2024",[],{"type":23,"text":22583,"spans":22584},"Submission period: December 14, 2023–January 14, 2024",[],{"type":23,"text":22586,"spans":22587},"ISLAA announces the call for proposals for its Winter 2024 Writer in Residence. The ISLAA Writer in Residence program offers the opportunity to conduct research over the course of six weeks, exploring rare materials and newly processed primary sources from our Library and Archives. 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See the recording below.\n",[22594],{"start":7147,"end":10391,"type":630,"data":22595},{"link_type":73,"url":22596,"target":633},"https://smr.to/p93697",{"type":23,"text":22598,"spans":22599},"If you have questions about the ISLAA Writer in Residence program, please email Blanca Serrano Ortiz de Solórzano, ISLAA project director: blanca.serranoortiz@islaa.org",[],{"type":23,"text":138,"spans":22601},[],{"type":23,"text":22603,"spans":22604},"About the collection of CAYC films:",[22605],{"start":156,"end":1878,"type":407},{"type":23,"text":22607,"spans":22608},"After an exhaustive process of restoration, digitization, and study of the original films in formats such as 16 mm, Betamax, and Umatic, ISLAA is pleased to present a collection of ten films drawn from CAYC’s institutional film production and held by the ISLAA Library and Archives. 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Institute for Studies on Latin American Art (ISLAA), New York",[],{"id":14357,"type":38,"tags":22685,"lang":17,"slug":10128,"first_publication_date":14359,"last_publication_date":14360,"uid":14361,"data":22686,"link_type":30,"key":22687,"isBroken":47},[],{"name":14363},"eee9b1da-5c01-4531-9811-b490da15e98c","2024-04-10",[22690],{"institution":22691},{"link_type":30},[22693],{"link":22694,"link_label":7},{"link_type":503},[22696,22711,22739],{"variation":101,"version":102,"items":22697,"primary":22709,"id":22710,"slice_type":10148,"slice_label":7},[22698,22702],{"category":10248,"value":22699},{"id":7913,"type":84,"tags":22700,"lang":17,"slug":7915,"first_publication_date":7916,"last_publication_date":7916,"uid":7915,"link_type":30,"key":22701,"isBroken":47},[],"54e9794e-64de-473a-90ee-8ae336bea8a9",{"category":10248,"value":22703},{"id":22704,"type":84,"tags":22705,"lang":17,"slug":22706,"first_publication_date":22707,"last_publication_date":22707,"uid":22706,"link_type":30,"key":22708,"isBroken":47},"ZdwNrhYAACgAt-ML",[],"madeline-murphy-turner","2024-02-26T04:04:00+0000","bac55f68-7e5b-4c66-acd1-956e96ddfc07",{},"credits$0b60ab79-7ac0-4304-88ba-bc2707b602db",{"variation":101,"version":102,"items":22712,"primary":22714,"id":22738,"slice_type":522,"slice_label":7},[22713],{},{"text":22715},[22716,22729],{"type":23,"text":22717,"spans":22718},"ISLAA and the Institute of Fine Arts, New York University are pleased to welcome you to A Conversation with Magali Lara and Madeline Murphy Turner, a public program in association with the spring exhibition, Magali Lara: Interior Landscapes, on view at the James B. Duke House. Magali Lara, the exhibiting artist, will be joined by Dr. Madeline Murphy Turner, a recent IFA graduate and currently the Emily Rauh Pulitzer Curatorial Fellow in Contemporary Drawings at the Harvard Art Museums. Together, they will share their valuable insights on Lara’s past and current practice, starting with the paintings on view in the exhibition and expanding into her multifaceted work with artists’ books and other media. \n\nCurated by Angelina Medina, Giovanni Falcone, Katie Svensson, and Vivian Wu, Magali Lara: Interior Landscapes presents four major paintings by Magali Lara, one of Mexico's most important living artists, highlighting her interior landscapes as acts of reclamation and healing.\n\nCreated between 1983 to 1995, the paintings on display in the James B. Duke House reflect the changing ways Lara articulated her own corporeal experiences and subjectivity. Her early domestic spaces grapple with memories of her childhood and the misogyny that surrounded her, while her later abstract works confront her personal experiences with grief and, simultaneously, consider the relationship between humans and the natural environment. Through her work, Lara contests the traditional expectations of women in Mexican society and proposes new avenues for expressing desire and recuperation.\n\nLearn more about the exhibition visiting hours here. We'd like to give special thanks to Professor Edward J. Sullivan, Magali Lara, and Dr. Madeline Murphy Turner for their support for this exhibition and program. ISLAA provided funding and extensive archival and research support. 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At 8:30 PM, Chávez will present a turntable performance highlighting analog audio's sculptural materiality.",[22970],{"start":22971,"end":14731,"type":112},158,{"type":23,"text":22973,"spans":22974},"We invite you to join us for the performance and view Threads to the South during these special late night hours at ISLAA. ",[22975],{"start":405,"end":13325,"type":112},{"type":23,"text":22977,"spans":22978},"This event is free, but advance registration is required. RSVP",[22979],{"start":7679,"end":5699,"type":630,"data":22980},{"link_type":73,"url":22981,"target":633},"https://www.eventbrite.com/e/nyabf-celebration-with-maria-chavez-tickets-882645134357",{"type":23,"text":138,"spans":22983},[],{"type":23,"text":22985,"spans":22986},"Maria Chávez",[22987],{"start":156,"end":967,"type":407},{"type":23,"text":22989,"spans":22990},"Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist, and DJ. Coincidence, chance, and failures are themes that unite her work across mediums, including improvised performance, sound and marble sculpture, visual art, and book objects. Her approach is rooted in Deep Listening, a form of embodied listening developed by her late mentor Pauline Oliveros.",[22991],{"start":5779,"end":12013,"type":112},{"type":23,"text":22993,"spans":22994},"Chávez is the only abstract turntablist in the world who performs with a rare needle known as the RAKE Double Needle. This special device contains two needles on one head, allowing it to read two different segments of a single record at the same time. Paired with her inimitable ability to create unforgettable sonic experiences from shards of broken records, each performance is truly unique.",[],{"type":23,"text":22996,"spans":22997},"Chávez’s practice is profoundly expansive, responsive and curious. Her work has been featured and supported by a myriad of institutions over the past decades including Rewire Festival, Counterflows Festival, Donau Festival, The Guggenheim Museum, The Getty, The Wire, MOCA Jacksonville, Black Mountain College Museum, and many, many more. Chávez’s 2012 book Of Technique: Chance Procedures on Turntable has garnered a reputation as both an academic resource on turntablism and a foundational text for a new generation of turntablists.",[22998,23000],{"start":22999,"end":4706,"type":112},258,{"start":2508,"end":9558,"type":112},{"type":23,"text":138,"spans":23002},[],"text$2ddb1907-0aed-4a0d-8fe8-4ea24580555c",{},{"dimensions":23006,"alt":7,"copyright":7,"url":22921,"id":22922,"edit":23007,"Square - Large":23008,"Square - Small":23014,"Horizontal":23017},{"width":942,"height":15735},{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":23009,"alt":7,"copyright":7,"url":23010,"id":22922,"edit":23011},{"width":260,"height":260},"https://images.prismic.io/islaa/6555c7de-282f-45ee-8f7b-352638db6df0_Event_Maria+Chavez_NYABF_04.27.2024.jpg?auto=compress,format&rect=240,0,800,800&w=1000&h=1000",{"x":23012,"y":156,"zoom":23013,"background":915},-300,1.25,{"dimensions":23015,"alt":7,"copyright":7,"url":22926,"id":22922,"edit":23016},{"width":266,"height":266},{"x":13610,"y":156,"zoom":22791,"background":915},{"dimensions":23018,"alt":7,"copyright":7,"url":22930,"id":22922,"edit":23019},{"width":266,"height":272},{"x":156,"y":22932,"zoom":22933,"background":915},[23021],{"type":23,"text":23022,"spans":23023}," ISLAA is pleased to present a special two-hour performance by Peruvian abstract turntablist and sound artist Maria Chávez.",[],[],[23026],{"page":23027},{"link_type":30},[23029],{"shopify_product_handle":7},{"id":23031,"uid":23032,"url":7,"type":464,"href":23033,"tags":23034,"first_publication_date":23035,"last_publication_date":23036,"slugs":23037,"linked_documents":23038,"lang":17,"alternate_languages":23039,"data":23040},"ZhRTSxAAACMADEBD","islaa-at-new-york-art-book-fair-2024","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZhRTSxAAACMADEBD%22%29+%5D%5D",[11],"2024-04-18T19:25:46+0000","2024-04-25T17:40:07+0000",[23032],[],[],{"title":23041,"series":23042,"hero_image":23045,"hero_caption":23060,"location":23061,"date":23068,"end_date":23069,"institutions":23070,"linked_material":23075,"slices":23078,"meta_description":7,"meta_image":23143,"meta_title":7,"preview_image":23144,"preview_description":23157,"preview_image_caption":23161,"related_content":23162,"related_products":23165},"ISLAA at New York Art Book Fair 2024",[23043],{"series":23044},{"link_type":30},{"dimensions":23046,"alt":7,"copyright":7,"url":23047,"id":23048,"edit":23049,"Square":23050,"Horizontal":23055},{"width":1869,"height":15411},"https://images.prismic.io/islaa/f4a022ec-0747-43d3-a8d2-b28e3bad8463_Event_ISLAA+at+NYABF_04.24.jpg?auto=compress,format","ZhRU0hAAACIADEcj",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":23051,"alt":7,"copyright":7,"url":23052,"id":23048,"edit":23053},{"width":266,"height":266},"https://images.prismic.io/islaa/f4a022ec-0747-43d3-a8d2-b28e3bad8463_Event_ISLAA+at+NYABF_04.24.jpg?auto=compress,format&rect=0,134,1080,1080&w=500&h=500",{"x":156,"y":23054,"zoom":21608,"background":915},-62,{"dimensions":23056,"alt":7,"copyright":7,"url":23057,"id":23048,"edit":23058},{"width":266,"height":272},"https://images.prismic.io/islaa/f4a022ec-0747-43d3-a8d2-b28e3bad8463_Event_ISLAA+at+NYABF_04.24.jpg?auto=compress,format&rect=0,350,1080,648&w=500&h=300",{"x":156,"y":23059,"zoom":21608,"background":915},-162,[],{"id":23062,"type":38,"tags":23063,"lang":17,"slug":15419,"first_publication_date":23064,"last_publication_date":23064,"uid":15419,"data":23065,"link_type":30,"key":23067,"isBroken":47},"ZUXL0BAAACUAvAoe",[],"2023-11-04T04:43:00+0000",{"name":23066},"Printed Matter","59905789-c8f7-4523-97aa-d6b80a27efcc","2024-04-25","2024-04-28",[23071],{"institution":23072},{"id":15417,"type":327,"tags":23073,"lang":17,"slug":15419,"first_publication_date":15420,"last_publication_date":15421,"uid":15422,"link_type":30,"key":23074,"isBroken":47},[],"d8185849-fc56-4c4a-ad4f-e330f574efc0",[23076],{"link":23077,"link_label":7},{"link_type":503},[23079],{"variation":101,"version":102,"items":23080,"primary":23082,"id":23142,"slice_type":522,"slice_label":7},[23081],{},{"text":23083},[23084,23094,23098,23100,23103,23106,23109,23115,23117,23123,23125,23131,23134,23136,23139],{"type":23,"text":23085,"spans":23086},"Table C34\n548 W 22nd St.\nNew York, NY 10011\n\nWe are pleased to announce our participation in Printed Matter’s NY Art Book Fair (NYABF). Our table will feature books from our imprint—including our new releases buen diseño para la industria and An Exhibition History of Latin American Art, our in-house journal Vistas, and exhibition booklets designed by ISLAA’s graphic designer in residence. We’ll also be featuring a selection of recent partnership publications copublished or supported by ISLAA.",[23087,23089,23092],{"start":1517,"end":23088,"type":112},239,{"start":23090,"end":23091,"type":112},243,286,{"start":23093,"end":8512,"type":112},309,{"type":23,"text":23095,"spans":23096},"On the evening of Saturday, April 27, ISLAA will open its doors to celebrate the book fair with our community, featuring a DJ set and performance by Peruvian abstract turntablist and sound artist Maria Chávez. Please note, RSVP for this performance is separate from the book fair.",[23097],{"start":1517,"end":15440,"type":112},{"type":23,"text":138,"spans":23099},[],{"type":23,"text":23101,"spans":23102},"BOOK FAIR SCHEDULE\nThursday, April 25, 2024: 6–9 PM \n$30 admission",[],{"type":23,"text":23104,"spans":23105},"Friday, April 26, 2024: 1–7 PM\n$5 admission",[],{"type":23,"text":23107,"spans":23108},"Saturday, April 27, 2024: 11 AM–7 PM\nNYABF Block Party: 12–6 PM\n$5 admission; Block Party entry free of charge",[],{"type":23,"text":23110,"spans":23111},"Performance by Maria Chávez: 7:30–9:30 PM\nFree admission; registration required\nHeld at ISLAA, 142 Franklin Street\n\nSunday, April 28, 2024: 11 AM–5 PM\nFree admission; registration required",[23112],{"start":156,"end":402,"type":630,"data":23113},{"link_type":73,"url":23114,"target":633},"https://islaa.org/updates/maria-chavez-at-islaa",{"type":23,"text":138,"spans":23116},[],{"type":23,"text":23118,"spans":23119},"Registration Link",[23120],{"start":156,"end":2680,"type":630,"data":23121},{"link_type":73,"url":23122,"target":633},"https://artsvp.com/printedmatter",{"type":23,"text":138,"spans":23124},[],{"type":23,"text":23126,"spans":23127},"More information on the fair and other exhibitors is accessible on the fair's official website.",[23128],{"start":7145,"end":6404,"type":630,"data":23129},{"link_type":73,"url":23130,"target":633},"https://printedmatterartbookfairs.org/",{"type":23,"text":23132,"spans":23133},"\nPlease contact nicole.kaack@islaa.org with any questions about ISLAA's participation in the fair.",[],{"type":23,"text":138,"spans":23135},[],{"type":23,"text":23137,"spans":23138},"ABOUT PRINTED MATTER’S NY ART BOOK FAIR\nNYABF is the leading international event for the distribution of artists’ books, celebrating contemporary artists’ publishing and the medium’s rich history. The fair features a broad range of artists and collectives, small presses, institutions, galleries, antiquarian booksellers, and distributors",[],{"type":23,"text":23140,"spans":23141},"Initiated in 2006, NYABF is an important gathering for artists’ book publishers to distribute their work, connect with broad audiences, and nurture new and longstanding relationships. This year, NYABF continues to be a vital platform for exhibitors and programs that are rooted in critical reflection, community, and free expression. ",[],"text$02b4103e-d07f-41c1-a8f1-74549f8cdd7c",{},{"dimensions":23145,"alt":7,"copyright":7,"url":23047,"id":23048,"edit":23146,"Square - Large":23147,"Square - Small":23151,"Horizontal":23154},{"width":1869,"height":15411},{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":23148,"alt":7,"copyright":7,"url":23149,"id":23048,"edit":23150},{"width":260,"height":260},"https://images.prismic.io/islaa/f4a022ec-0747-43d3-a8d2-b28e3bad8463_Event_ISLAA+at+NYABF_04.24.jpg?auto=compress,format&rect=0,135,1080,1080&w=1000&h=1000",{"x":156,"y":22553,"zoom":21936,"background":915},{"dimensions":23152,"alt":7,"copyright":7,"url":23052,"id":23048,"edit":23153},{"width":266,"height":266},{"x":156,"y":23054,"zoom":21608,"background":915},{"dimensions":23155,"alt":7,"copyright":7,"url":23057,"id":23048,"edit":23156},{"width":266,"height":272},{"x":156,"y":23059,"zoom":21608,"background":915},[23158],{"type":23,"text":23159,"spans":23160},"We are pleased to announce our participation in Printed Matter’s NY Art Book Fair (NYABF).",[],[],[23163],{"page":23164},{"link_type":30},[23166,23168,23170,23172],{"shopify_product_handle":23167},"buen-diseno-para-la-industria",{"shopify_product_handle":23169},"an-exhibition-history-of-latin-american-art",{"shopify_product_handle":23171},"vistas-10",{"shopify_product_handle":2227},{"id":23174,"uid":23175,"url":7,"type":464,"href":23176,"tags":23177,"first_publication_date":23178,"last_publication_date":23179,"slugs":23180,"linked_documents":23182,"lang":17,"alternate_languages":23183,"data":23184},"ZfMIuBAAACcAYNvK","2024-islaa-forum-latin-american-and-latinx-art","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZfMIuBAAACcAYNvK%22%29+%5D%5D",[11],"2024-03-14T14:37:46+0000","2024-03-27T13:52:17+0000",[23181],"2024-islaa-forum-latin-american-and-latinx-art-and-visual-culture-dissertation-workshop",[],[],{"title":23185,"series":23186,"hero_image":23191,"hero_caption":23204,"location":23208,"date":23217,"end_date":23218,"institutions":23219,"linked_material":23222,"slices":23225,"meta_description":7,"meta_image":23321,"meta_title":7,"preview_image":23322,"preview_description":23337,"preview_image_caption":23341,"related_content":23342,"related_products":23343},"2024 ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop",[23187],{"series":23188},{"id":19036,"type":1366,"tags":23189,"lang":17,"slug":19038,"first_publication_date":19039,"last_publication_date":19039,"uid":19038,"link_type":30,"key":23190,"isBroken":47},[],"219ea23b-a9fe-475c-9ecc-a9c434e645c8",{"dimensions":23192,"alt":7,"copyright":7,"url":23193,"id":23194,"edit":23195,"Square":23196,"Horizontal":23200},{"width":2614,"height":10425},"https://images.prismic.io/islaa/5cf38b14-34ca-4767-a035-2005e1e13bc6_Event_ISLAA+Forum+2024_CLAVIS_+Hero+image_04.24.jpeg?auto=compress,format","ZfMLpRAAACUAYOlN",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":23197,"alt":7,"copyright":7,"url":23198,"id":23194,"edit":23199},{"width":266,"height":266},"https://images.prismic.io/islaa/5cf38b14-34ca-4767-a035-2005e1e13bc6_Event_ISLAA+Forum+2024_CLAVIS_+Hero+image_04.24.jpeg?auto=compress,format&rect=267,0,1066,1066&w=500&h=500",{"x":22553,"y":156,"zoom":22797,"background":915},{"dimensions":23201,"alt":7,"copyright":7,"url":23202,"id":23194,"edit":23203},{"width":266,"height":272},"https://images.prismic.io/islaa/5cf38b14-34ca-4767-a035-2005e1e13bc6_Event_ISLAA+Forum+2024_CLAVIS_+Hero+image_04.24.jpeg?auto=compress,format&rect=0,54,1600,960&w=500&h=300",{"x":156,"y":21613,"zoom":3089,"background":915},[23205],{"type":23,"text":23206,"spans":23207},"C. Ondine Chavoya presenting the keynote presentation at the 2023 ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop at the University of Texas at Austin. 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This events brings together eight early career scholars to develop their dissertation projects and engage with collections on campus. This year CLAVIS welcomes Dária Jaremtchuk, Universidade de São Paulo, and Camilo Trumper, University of Buffalo (SUNY), as the invited scholars. Jaremtchuk and Trumper will deliver keynote lectures on April 4 in person, which will also be live-streamed here.",[23263,23266,23269],{"start":144,"end":5599,"type":630,"data":23264},{"link_type":73,"url":23265,"target":633},"https://sites.utexas.edu/clavis/islaa-forum/",{"start":23267,"end":5988,"type":630,"data":23268},126,{"link_type":73,"url":23265},{"start":23270,"end":23271,"type":630,"data":23272},602,606,{"link_type":73,"url":23273},"https://virtualmeeting.la.utexas.edu/meet/ISLAA-forum-april-04-2024",{"type":23,"text":23275,"spans":23276},"Dária Jaremtchuk's lecture, titled “Policies of Attraction: Intensified Artistic Approaches between the United States and Brazil”, will analyze the policies of attraction implemented by sectors of the United States government in the Brazilian artistic and cultural environment during the 1960s and 1970s. The purposes of these strategies were explicit: to reverse – within Latin America and not just Brazil – the negative image of the United States, and to make the country a hegemonic reference in the artistic field. To achieve the expected results, exclusive projects and activities were launched, including personal and institutional exchanges, the organization of literary, artistic, and cultural events, the promotion of English language learning, book translations, theater festivals, and the circulation of cultural exhibitions and art shows. This presentation will discuss some cases focused on visual arts. In summary, this analysis aims to contribute to a better understanding of the relationship between culture and politics during the decades of the 1960s and 1970s. ",[],{"type":23,"text":23278,"spans":23279},"Camilo Trumper's presentation, titled “The Politics of Public Writing in Dictatorship”, and drawn from a new book project, explores the politics of writing in dictatorship. It investigates the politics of writing and re-writing, of producing, circulating, and reading text in a political context defined by censorship, silence, erasure, and exile. It explores often-clandestine, often-unspectacular forms of political organizing and association, mapping the connection between distinct forms of dissent, in Chile and in exile, that were tied together by the political practice of writing, by the line of the pen. It ranges across distinct forms of writing, or inscription—prison writing, schoolhouse writing, street writing, and archival writing. In so doing, it proposes a history of dictatorship and dissent that speaks to contemporary forms of protest in Chile and Latin America. ",[],{"type":23,"text":23281,"spans":23282},"The selected participants in this edition of the ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop are: Letícia Cobra Lima, University of California (Santa Barbara), Alhelí Harvey, University of Texas at Austin, Lucía Laumann, Universidad Nacional de San Martín/CONICET, Lynne Lee, Rice University, Lucy Quezada, University of Texas at Austin, Juan Gabriel Ramírez Bolivar, Institute of Fine Arts (New York University), Jennifer Leite Sales, University of Texas at Austin, and Joseph Shaikewitz, Institute of Fine Arts (New York University).",[],{"type":23,"text":23284,"spans":23285},"Organized by George Flaherty and Adele Nelson.",[],{"type":23,"text":23287,"spans":23288},"Keynote lectures by Camilo Trumper and Dária Jaremtchuk on April 4 from 4:30PM to 6:30PM ET. Livestream link here.",[23289,23290],{"start":156,"end":3597,"type":407},{"start":5134,"end":7959,"type":630,"data":23291},{"link_type":73,"url":23273,"target":633},"text$c58fc0a2-a94a-4b0b-ae60-b9cce3b088b8",{"variation":101,"version":102,"items":23294,"primary":23296,"id":23308,"slice_type":522,"slice_label":7},[23295],{},{"text":23297},[23298,23302,23305],{"type":23,"text":23299,"spans":23300},"About the ISLAA Forum ",[23301],{"start":156,"end":2610,"type":407},{"type":23,"text":23303,"spans":23304},"The ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop is an annual gathering to build community and professional networks for graduate students who convene at the University of Texas at Austin’s Center for Latin American Visual Studies (CLAVIS) for three-day meetings to focus on dissertation proposals or a single thesis chapter. 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The Symposium will include keynote presentations by Dr. Adriana Zavala of Tufts University and Dr. Delia Cosentino of DePaul University (further details to be announced in January 2023).",[],{"type":23,"text":23387,"spans":23388},"The Seventh Annual Symposium of Latin American Art invites proposals from artists, activists, graduate students, and emerging scholars considering place-making, maps, and geography in the study of the art and culture of the Americas. The Symposium considers how marking practices interact with place and space-making strategies broadly construed—maps, cartographic renditions of place, earth and land art, urban planning, architecture and landscape, and more. By prioritizing space, place, and geography, the Symposium invites engagement with and critique of how marking practices have shaped our understanding of the Americas. ",[],{"type":23,"text":23390,"spans":23391},"Artists, activists, graduate students, and emerging scholars are invited to apply, especially those based in Latin America and the Caribbean. Topics from all historical periods of Latin American / Latinx / Chicanx / and Caribbean art (e.g. Ancient or \"Pre-Columbian,\" Colonial, Modern, Contemporary), as well as fields outside the realm of art history, but grounded in visual material (e.g. Cinema and Media Studies, Latin American and Latinx Studies, Visual Culture) are highly encouraged. Abstracts will be accepted in English, Spanish, and Portuguese. ",[],{"type":23,"text":23393,"spans":23394},"The Symposium will be held in-person. 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Applicants will be notified of their acceptance by Friday, January 27. Presentations will be limited to 20 minutes, with additional time for discussion. The Symposium Committee invites participation from graduate students and emerging scholars across the globe. In your application, please indicate your current institutional affiliation as well as the languages you speak.",[23445,23446],{"start":10003,"end":5125,"type":407},{"start":23447,"end":5945,"type":407},190,{"type":23,"text":23449,"spans":23450},"This Symposium is generously funded by the Institute for Studies on Latin American Art (ISLAA), the Department of Latin American and Iberian Cultures, the Institute for Latin American Studies, and the Department of Art History and Archaeology at Columbia University. It is coordinated by Professors Edward J. 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The conversation will be held in Spanish and hosted on Zoom, and a recording will be made available online following the event. ",[],{"type":23,"text":23624,"spans":23625},"The University of California Press published The Political Body in March 2023 as part of the series Studies on Latin American Art. Books in the series encompass studies of art history and cultural practices emerging from Central and South America, the Caribbean, and the Latin American diaspora in the twentieth and twenty-first centuries. International and cosmopolitan in scope, the series seeks to address the production, exhibition, and dissemination of art in and between countries and continents. 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Please click here to view the livestream on April 22.",[24697],{"start":111,"end":8123,"type":630,"data":24698},{"link_type":73,"url":24699},"https://virtualmeeting.la.utexas.edu/meet/ISLAA-forum-april-22-2022",{"type":23,"text":138,"spans":24701},[],{"type":23,"text":24703,"spans":24704},"PUBLIC PROGRAM: FRIDAY, APRIL 22",[],{"type":23,"text":24706,"spans":24707},"9:30 AM–12:00 PM CDT\n",[24708],{"start":156,"end":921,"type":630,"data":24709},{"link_type":73,"url":24699},{"type":23,"text":24711,"spans":24712},"Julia Detchon (University of Texas at Austin), “Work-Around: Four Argentine Artists between Feminism and Conceptualism, 1968–1983”",[],{"type":23,"text":24714,"spans":24715},"Sonja Elena Gandert (The Graduate Center, City University of New York), “La resolana: Chicano Artistic Imaginaries of Place, Race, and Activism in New Mexico, 1969-1985”",[24716],{"start":2505,"end":7247,"type":112},{"type":23,"text":24718,"spans":24719},"Sophia Kitlinski (Yale University), “Departing the Sacred: The Circulation of Abakuá Visual and Material Worlds across the Spanish Empire, 1976-1898”",[],{"type":23,"text":24721,"spans":24722},"Paula Victoria Kupfer (University of Pittsburgh), “Marc Ferrez’s Landscapes of Intervention: Photography, Ecology, and Enslavement in Late-Imperial Brazil”",[],{"type":23,"text":24724,"spans":24725},"Emma J. 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the Institute of Fine Arts at New York University, The Graduate Center, City University of New York (CUNY), and Columbia University are pleased to announce the Sixth Annual Symposium of Latin American Art. “Movement & Presence: The Visual Culture of the Americas” will be held on March 30, 31, and April 1, 2022. The Symposium will include keynote presentations by Denise Ferreira da Silva and Diana Taylor.",[],{"type":23,"text":25638,"spans":25639},"“Latin America”—the idealized landscape, geospatial entity, and sociocultural construct—has been shaped and mythologized by, through, and against movement. The invention of America and, later, of Latin America, legitimized and enabled the dispossession of land and Indigenous lifeways—of Abya Yala and Turtle Island, for example—into the Euro-Christian imaginary and facilitated the colonial and imperial expansion of the West across the globe. These inventions enabled the mass movement of people, goods, images, and ideas through the processes of African and Indigenous enslavement, resource extraction, global capitalism, and the implementation of borders. Similarly, “latinidad,” a unifying identity-construct for Latin America’s diaspora in the US—with its erasures of Black, Indigenous, and Asian lived experiences—is also predicated on this mobility: it is an identity which is forged through migration and the crossing of borders. However, Indigenous worldviews, migration, and networks of cross-cultural exchange are also forms of movement which predate and intersect with this very idea, offering modes of resistance to ongoing processes of coloniality. Movement is an intentional, embodied presence that invokes cross-temporal and cross-spatial histories, as well as futurities. Closely related to movement are the experiences of community, networks, continuity, and presence. As Diana Taylor writes, being present, or ¡Presente!, constitutes a decisive act of resistance and solidarity.",[25640],{"start":25641,"end":25642,"type":112},1430,1440,{"type":23,"text":25644,"spans":25645},"The Symposium will be held entirely online. 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A dynamic and experimental story-teller, Rincón Gallardo mixes live performance with video projections to expand upon her “mythical-critical Surrealist” narratives, using precolonial myths to find anti-colonial poetic weapons against injustices of the present. The accompanying exhibition, Screens Series: Naomi Rincón Gallardo, is curated by Bernardo Mosqueira, ISLAA Curatorial Fellow.",[27847,27848],{"start":2684,"end":17215,"type":112},{"start":27849,"end":13226,"type":112},431,{"type":23,"text":27851,"spans":27852},"Made in honor of human rights activist Alberta “Bety” Cariño, The Formaldehyde Trip imagines the activist’s passage through the underworld after she was murdered in a paramilitary ambush in April 2010. Through music, dance, improvisation, digital animations, and excerpts of speeches by Cariño, the lively, eventful, and mesmerizing journey unfolds as a series of encounters with spirit animals, women warriors, witches, and Mesoamerican deities. 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Moderated by Aimé Iglesias Lukin, curator of the exhibition and director and chief curator of visual arts at Americas Society.",[],{"type":23,"text":27961,"spans":27962},"Ulises Carrión (1941, Mexico–1989, Netherlands) was a pioneering figure in mail art, a movement and a medium that produced a unique international network of creative exchange in the 1970s and 1980s. Throughout his life he developed an important oeuvre that spanned performance, video art, and books.",[],{"type":23,"text":27964,"spans":27965},"Ulises Carrión: The Big Monster is the first show of ISLAA´s new exhibitions program on modern and contemporary Latin American art. These exhibitions respond to ISLAA’s mission to advance visual art from Latin America and to support future generations of experts on Latin American art. 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Taste",[28087],{"series":28088},{"id":23794,"type":1366,"tags":28089,"lang":17,"slug":23796,"first_publication_date":23797,"last_publication_date":23797,"uid":23796,"link_type":30,"key":28090,"isBroken":47},[],"ea569646-6785-4f7d-812c-78c0be24d194",{"dimensions":28092,"alt":7,"copyright":7,"url":28093,"id":28094,"edit":28095,"Square":28096,"Horizontal":28101},{"width":7345,"height":21899},"https://images.prismic.io/islaa/3481cdea-849b-4a67-bfb8-1b1a3fa1983e_LAF_Ana+Maria+Reyes_Politics+of+Taste_Feb+2024.png?auto=compress,format","Za6wbhEAACIAK3UM",{"x":156,"y":156,"zoom":172,"background":173},{"dimensions":28097,"alt":7,"copyright":7,"url":28098,"id":28094,"edit":28099},{"width":266,"height":266},"https://images.prismic.io/islaa/3481cdea-849b-4a67-bfb8-1b1a3fa1983e_LAF_Ana+Maria+Reyes_Politics+of+Taste_Feb+2024.png?auto=compress,format&rect=0,898,3300,3300&w=500&h=500",{"x":156,"y":25369,"zoom":28100,"background":173},0.15151515151515152,{"dimensions":28102,"alt":7,"copyright":7,"url":28103,"id":28094,"edit":28104},{"width":266,"height":272},"https://images.prismic.io/islaa/3481cdea-849b-4a67-bfb8-1b1a3fa1983e_LAF_Ana+Maria+Reyes_Politics+of+Taste_Feb+2024.png?auto=compress,format&rect=0,1558,3300,1980&w=500&h=300",{"x":156,"y":25375,"zoom":28100,"background":173},[28106],{"type":23,"text":21905,"spans":28107},[],{"id":14357,"type":38,"tags":28109,"lang":17,"slug":10128,"first_publication_date":14359,"last_publication_date":14360,"uid":14361,"data":28110,"link_type":30,"key":28111,"isBroken":47},[],{"name":14363},"aaeb9fee-a39d-4d4e-a79c-4967bae2d622","2024-02-01",[28114],{"institution":28115},{"id":10126,"type":327,"tags":28116,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":28117,"isBroken":47},[],"46af8db8-14bd-46e0-b627-9572ea9f8531",[28119],{"link":28120,"link_label":7},{"link_type":503},[28122,28137,28156],{"variation":101,"version":102,"items":28123,"primary":28135,"id":28136,"slice_type":10148,"slice_label":7},[28124,28131],{"category":10248,"value":28125},{"id":28126,"type":84,"tags":28127,"lang":17,"slug":28128,"first_publication_date":28129,"last_publication_date":28129,"uid":28128,"link_type":30,"key":28130,"isBroken":47},"Za6w9REAACQAK3Xr",[],"ana-maria-reyes","2024-01-22T18:16:24+0000","29a8a291-f166-4258-8886-305c0ec1db74",{"category":22041,"value":28132},{"id":21110,"type":84,"tags":28133,"lang":17,"slug":21112,"first_publication_date":21113,"last_publication_date":21113,"uid":21112,"link_type":30,"key":28134,"isBroken":47},[],"ced13516-fc7e-4c94-98b9-b7d643fc3b6b",{},"credits$81a9cbbd-c366-47e0-8641-3de171346f5e",{"variation":101,"version":102,"items":28138,"primary":28140,"id":28155,"slice_type":522,"slice_label":7},[28139],{},{"text":28141},[28142,28146],{"type":23,"text":28143,"spans":28144},"Ana María Reyes, Associate Professor of History of Art in Latin America at Boston University, will discuss her book The Politics of Taste: Beatriz González and Cold War Aesthetics (Duke University Press, 2019) in relation to the Colombian artist’s furniture assemblages. González repurposed domestic furniture to frame her enamel-on-metal paintings, drawing inspiration from Catholic altar-making traditions and engaging with global artistic practices like assemblages and ready-mades. Critics labeled González's furniture pieces as \"cursi,\" reflecting societal anxieties about changing class structures and social practices during the Cold War, particularly in response to the artist's humorous and satirical approach to cultural and artistic norms. González's art practice, marked by a baroque sensibility, stands apart from the ephemeral and dematerialized gestures of her contemporaries in Latin America, challenging notions of taste, authenticity, and the porous boundary between public and private in the construction of subjectivities.",[28145],{"start":9689,"end":11684,"type":112},{"type":23,"text":28147,"spans":28148},"The program will be presented onsite at the James B. Duke House and live-streamed to those who join by Zoom. For in-person attendance, please RSVP here. You may register for Zoom livestream here.",[28149,28152],{"start":448,"end":3445,"type":630,"data":28150},{"link_type":73,"url":28151,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSelO2bTGtPX_ePHHgx9_jt6zE-FzHSHbXHNN6i5FDk7V8tiyw/viewform",{"start":1474,"end":4485,"type":630,"data":28153},{"link_type":73,"url":28154,"target":633},"https://nyu.zoom.us/webinar/register/WN_Izayn2-5TbmXjkz8yoPHwA#/registration","text$309a0220-dadf-4d2d-9365-c3eb705d3094",{"variation":101,"version":102,"items":28157,"primary":28159,"id":28173,"slice_type":522,"slice_label":7},[28158],{},{"text":28160},[28161,28164,28167],{"type":23,"text":28162,"spans":28163},"ABOUT THE LATIN AMERICAN FORUM",[],{"type":23,"text":28165,"spans":28166},"The Latin American Forum is a platform sustained in partnership with ISLAA that brings artists, scholars, and critics of the arts of the Americas to the Institute of Fine Arts, providing a platform for discussions and debates about diverse issues pertaining to contemporary arts and visual cultures throughout the hemisphere.",[],{"type":23,"text":28168,"spans":28169},"This series of public programs and events is coordinated by Edward J. Sullivan, Helen Gould Shepard Professor in the History of Art, the Institute of Fine Arts, New York University, and organized by graduate students. Since partnering with ISLAA in 2011, NYU’s Latin American Forum has hosted more than thirty events. ",[28170],{"start":28171,"end":5948,"type":630,"data":28172},255,{"link_type":73,"url":19244},"text$5471140b-ab5c-46bc-87b0-e34ba28c8955",{},{"dimensions":28176,"alt":7,"copyright":7,"url":28093,"id":28094,"edit":28177},{"width":7345,"height":21899},{"x":156,"y":156,"zoom":172,"background":173},[28179],{"type":23,"text":28180,"spans":28181},"Ana María Reyes will discuss her book The Politics of Taste: Beatriz González and Cold War Aesthetics in relation to the Colombian artist’s furniture assemblages.",[28182],{"start":952,"end":7233,"type":112},[],[],[],{"id":28187,"uid":28188,"url":7,"type":464,"href":28189,"tags":28190,"first_publication_date":28191,"last_publication_date":28191,"slugs":28192,"linked_documents":28194,"lang":17,"alternate_languages":28195,"data":28196},"ZblbbxAAACEAvTsZ","call-for-proposals-islaa-forum-latin-american-and","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZblbbxAAACEAvTsZ%22%29+%5D%5D",[11],"2024-03-19T16:23:59+0000",[28193],"call-for-proposals-islaa-forum-latin-american-and-latinx-art-and-visual-culture-dissertation-workshop",[],[],{"title":28197,"series":28198,"hero_image":28203,"hero_caption":28220,"location":28221,"date":28222,"end_date":7,"institutions":28223,"linked_material":28228,"slices":28231,"meta_description":7,"meta_image":28319,"meta_title":7,"preview_image":28320,"preview_description":28323,"preview_image_caption":28327,"related_content":28328,"related_products":28329},"Call for Proposals: ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop",[28199],{"series":28200},{"id":19036,"type":1366,"tags":28201,"lang":17,"slug":19038,"first_publication_date":19039,"last_publication_date":19039,"uid":19038,"link_type":30,"key":28202,"isBroken":47},[],"9488c879-71ed-464d-87a6-19be32c20f73",{"dimensions":28204,"alt":7,"copyright":7,"url":28206,"id":28207,"edit":28208,"Square":28209,"Horizontal":28214},{"width":28205,"height":1816},2046,"https://images.prismic.io/islaa/2e1a72ec-de36-46bc-9e22-c40db1e4e81d_Event_clavis+logo_Hero_2022.jpg?auto=compress,format","ZblbLBAAACQAvTqp",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":28210,"alt":7,"copyright":7,"url":28211,"id":28207,"edit":28212},{"width":266,"height":266},"https://images.prismic.io/islaa/2e1a72ec-de36-46bc-9e22-c40db1e4e81d_Event_clavis+logo_Hero_2022.jpg?auto=compress,format&rect=498,0,1050,1050&w=500&h=500",{"x":27336,"y":156,"zoom":28213,"background":915},0.47619047619047616,{"dimensions":28215,"alt":7,"copyright":7,"url":28216,"id":28207,"edit":28217},{"width":266,"height":272},"https://images.prismic.io/islaa/2e1a72ec-de36-46bc-9e22-c40db1e4e81d_Event_clavis+logo_Hero_2022.jpg?auto=compress,format&rect=147,0,1750,1050&w=500&h=300",{"x":28218,"y":156,"zoom":28219,"background":915},-42,0.2857142857142857,[],{"link_type":30},"2022-02-09",[28224],{"institution":28225},{"id":24654,"type":327,"tags":28226,"lang":17,"slug":23211,"first_publication_date":24656,"last_publication_date":24657,"uid":23213,"link_type":30,"key":28227,"isBroken":47},[],"ea3a3ddf-ba5c-4b5e-a5e7-8e2499f95e84",[28229],{"link":28230,"link_label":7},{"link_type":503},[28232,28264,28288],{"variation":101,"version":102,"items":28233,"primary":28235,"id":28263,"slice_type":522,"slice_label":7},[28234],{},{"text":28236},[28237,28240,28243,28255,28257,28260],{"type":23,"text":28238,"spans":28239},"Application Deadline: February 20, 2022",[],{"type":23,"text":28241,"spans":28242},"Workshop Dates: April 22–23, 2022",[],{"type":23,"text":28244,"spans":28245},"Apply now to participate in ISLAA Forum: Latin American and Latinx Art and Visual Culture Dissertation Workshop for doctoral students of modern and contemporary Latin American and Latinx art and visual culture from the 19th century to the present day. The two-day program will be held at the Center for Latin American Visual Studies (CLAVIS) at the University of Texas at Austin on April 22–23.\n\nSend your applications to claivsislaaforum@gmail.com by February 20th consideration. For more info about requirements, please read the call for proposals.",[28246,28249,28252],{"start":3256,"end":4688,"type":630,"data":28247},{"link_type":73,"url":28248,"target":633},"https://sites.utexas.edu/clavis/2022/01/31/clavis-and-islaa-launch-dissertation-workshop-for-doctoral-students-of-modern-and-contemporary-latin-american-and-latinx-art/",{"start":9781,"end":15217,"type":630,"data":28250},{"link_type":73,"url":28251,"target":633},"http://sites.utexas.edu/clavis",{"start":416,"end":8756,"type":630,"data":28253},{"link_type":73,"url":28254,"target":633},"https://sites.utexas.edu/clavis/projects/islaa-forum-latin-american-and-latinx-art-and-visual-culture-dissertation-workshop/",{"type":23,"text":138,"spans":28256},[],{"type":23,"text":28258,"spans":28259},"The Institute for Studies on Latin American Art (ISLAA) and the Center for Latin American Visual Studies (CLAVIS) are delighted to announce a new partnership and the launch of a series of three annual dissertation workshops for doctoral students of modern and contemporary Latin American and Latinx art and visual culture from the nineteenth century to the present day.\n",[],{"type":23,"text":28261,"spans":28262},"In the workshop, student and scholar participants will engage in extended discussion of the dissertation projects, offering and receiving constructive commentary toward improving their research plan and writing. Discussions will emphasize strengthening conceptual and narrative frameworks and potential for interdisciplinary approaches, as well as identifying additional primary sources, relevant literatures, and possible interlocutors. The goal is to support highly original and fully historicized dissertations that directly contribute to a more rigorous, international, and collaborative field.",[],"text$2753c0c7-2cce-4da0-9b5e-7c9be218b6b0",{"variation":101,"version":102,"items":28265,"primary":28267,"id":28287,"slice_type":522,"slice_label":7},[28266],{},{"text":28268},[28269,28273,28276,28279,28282],{"type":23,"text":28270,"spans":28271},"CALL FOR PROPOSALS",[28272],{"start":156,"end":157,"type":407},{"type":23,"text":28274,"spans":28275},"This workshop is intended to serve doctoral students of modern and contemporary Latin American and Latinx art and visual culture from the nineteenth century to the present day. Full-time students with at least one year of completed doctoral coursework at an accredited university, and currently working on a dissertation proposal or a chapter manuscript, are eligible to apply.",[],{"type":23,"text":28277,"spans":28278},"This two-day program invites up to 6 doctoral students to develop their dissertation proposals or chapter manuscripts with a group of scholars with a variety of geographic, thematic, and methodological interests, including Drs. George Flaherty and Adele Nelson, of CLAVIS, and two invited scholars, Dr. Anna Arabindan-Kesson, Assistant Professor of Black Diasporic Art at Princeton University, and another soon-to-be-announced scholar. In the workshop, student and scholar participants will engage in extended discussion of the dissertation projects, offering and receiving constructive commentary toward improving their research plan and writing. Discussions will emphasize strengthening conceptual and narrative frameworks and potential for interdisciplinary approaches, as well as identifying additional primary sources, relevant literatures, and possible interlocutors. The goal is to support highly original and fully historicized dissertations that directly contribute to a more rigorous, international, and collaborative field.",[],{"type":23,"text":28280,"spans":28281},"As part of the program, student participants will give brief public presentations of their projects and the invited scholars will offer keynote presentations. All participants will have an opportunity to visit UT Austin’s research collections, including the Blanton Museum, Benson Library, and Ransom Center during their stay.",[],{"type":23,"text":28283,"spans":28284},"Read the full call for proposals.",[28285],{"start":1039,"end":629,"type":630,"data":28286},{"link_type":73,"url":28254,"target":633},"text$5595d944-033e-40b1-a200-19625de7b943",{"variation":101,"version":102,"items":28289,"primary":28291,"id":28318,"slice_type":522,"slice_label":7},[28290],{},{"text":28292},[28293,28297,28300,28303,28309],{"type":23,"text":28294,"spans":28295},"ABOUT THE CENTER FOR LATIN AMERICAN VISUAL STUDIES (CLAVIS), UNIVERSITY OF TEXAS AT AUSTIN",[28296],{"start":156,"end":4348,"type":407},{"type":23,"text":28298,"spans":28299},"The Center for Latin American Visual Studies (CLAVIS) was established in 2009 as a unit of the Department of Art and Art History. With a focus on research and graduate education, it advances the study of modern and contemporary Latin American and Latinx art and visual culture. CLAVIS participates in the wealth of interdisciplinary collaboration in Latin American and Latinx studies at the University of Texas at Austin, and benefits from the university’s world-class resources, including the Benson Latin American Collection, Blanton Museum of Art, and Harry Ransom Center.",[],{"type":23,"text":28301,"spans":28302},"CLAVIS is led by George Flaherty, associate professor of art history, and Adele Nelson, assistant professor of art history, the University of Texas at Austin.",[],{"type":23,"text":28304,"spans":28305},"sites.utexas.edu/clavis",[28306],{"start":156,"end":2546,"type":630,"data":28307},{"link_type":73,"url":28308},"https://www.sites.utexas.edu/clavis",{"type":23,"text":28310,"spans":28311},"Between 2012–15, ISLAA generously supported scholarly programs through CLAVIS, bringing leading senior and emerging scholars to the University of Texas at Austin campus to disseminate advanced research on modern and contemporary art and culture from the Americas, including the Permanent Seminar in Latin American Art and the 2012 edition of the CLAVIS International Emerging Scholars Forum.",[28312,28315],{"start":5947,"end":12012,"type":630,"data":28313},{"link_type":73,"url":28314},"https://sites.utexas.edu/clavis/projects/permanent-seminar-in-latin-american-art/",{"start":7965,"end":14149,"type":630,"data":28316},{"link_type":73,"url":28317},"https://sites.utexas.edu/clavis/projects/archive-2/international-emerging-scholars-forums/","text$9bc89899-169c-49ed-adee-e3a284b7fce7",{},{"dimensions":28321,"alt":7,"copyright":7,"url":28206,"id":28207,"edit":28322},{"width":28205,"height":1816},{"x":156,"y":156,"zoom":172,"background":915},[28324],{"type":23,"text":28325,"spans":28326},"Applications for the dissertation workshop are due February 20, 2022",[],[],[],[],{"id":28331,"uid":28332,"url":7,"type":6292,"href":28333,"tags":28334,"first_publication_date":28335,"last_publication_date":28335,"slugs":28336,"linked_documents":28337,"lang":17,"alternate_languages":28338,"data":28339},"Zab9ABAAACQAuLFp","announcing-move-to-new-headquarters-in-tribeca","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22Zab9ABAAACQAuLFp%22%29+%5D%5D",[11],"2024-03-14T13:11:14+0000",[28332],[],[],{"title":28340,"series":28341,"hero_image":28344,"hero_image_caption":28362,"location":28366,"date":28367,"end_date":7,"institutions":28368,"slices":28371,"meta_description":7,"meta_image":28390,"meta_title":7,"preview_image":28391,"preview_description":28394,"related_content":28398,"related_products":28399},"Announcing Move to New Headquarters in Tribeca",[28342],{"series":28343},{"link_type":30},{"dimensions":28345,"alt":28348,"copyright":7,"url":28349,"id":28350,"edit":28351,"Square":28352,"Horizontal":28357},{"width":28346,"height":28347},8688,5792,"Sidewalk view of building facade in New York City. The building has a stone facade with large storefront glass windows framed in dark wood. There is a black handicap ramp and stair in front of the building's double-door main entrance.","https://images.prismic.io/islaa/f7bfe294-11c1-4ffb-a079-1434c084b179_News_Franklin-St_Hero.jpg?auto=compress,format","Zab_QBAAACQAuLT6",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":28353,"alt":7,"copyright":7,"url":28354,"id":28350,"edit":28355},{"width":266,"height":266},"https://images.prismic.io/islaa/f7bfe294-11c1-4ffb-a079-1434c084b179_News_Franklin-St_Hero.jpg?auto=compress,format&rect=1448,0,5792,5792&w=500&h=500",{"x":22553,"y":156,"zoom":28356,"background":915},0.08632596685082873,{"dimensions":28358,"alt":7,"copyright":7,"url":28359,"id":28350,"edit":28360},{"width":266,"height":272},"https://images.prismic.io/islaa/f7bfe294-11c1-4ffb-a079-1434c084b179_News_Franklin-St_Hero.jpg?auto=compress,format&rect=0,295,8688,5213&w=500&h=300",{"x":156,"y":21613,"zoom":28361,"background":915},0.05755064456721915,[28363],{"type":23,"text":28364,"spans":28365},"Courtesy 142 Franklin Street",[],{"link_type":30},"2023-05-02",[28369],{"institution":28370},{"link_type":30},[28372],{"variation":101,"version":102,"items":28373,"primary":28375,"id":28389,"slice_type":522,"slice_label":7},[28374],{},{"text":28376},[28377,28380,28383,28386],{"type":23,"text":28378,"spans":28379},"ISLAA is excited to announce its move to 142 Franklin Street in Tribeca in fall 2023. In addition to serving as ISLAA’s new headquarters, the location will feature a large exhibition space and research center.",[],{"type":23,"text":28381,"spans":28382},"Marking the start of a significant chapter for ISLAA, the move from the Upper East Side to its new downtown location will signify ISLAA’s expansion toward greater public-facing activities. The ground floor of the 8,650-square-foot headquarters will feature a public exhibition space dedicated to presenting works from ISLAA’s collection. The building’s sublevel space will host public events and programs organized in collaboration with university partners and will house a research center that will provide access to the ISLAA Library and Archives.",[],{"type":23,"text":28384,"spans":28385},"Since 2011, ISLAA has expanded scholarship, public engagement, and the international visibility of art from Latin America through its program of exhibitions, publishing, research, and partnerships. These programs frequently engage ISLAA’s collection of modern and contemporary Latin American art, which is in dialogue with the contents of the ISLAA Library and Archives.",[],{"type":23,"text":28387,"spans":28388},"ISLAA works with educational and art institutions to foster scholarship and intellectual exchange, providing resources and programs oriented toward scholars, arts professionals, and broad audiences. These partnerships include the ISLAA Forum, a series of graduate student workshops; the Artist Seminar Initiative, which supports coursework and on-campus exhibitions; ISLAA’s decade-long, multifaceted partnerships with Columbia University and the Institute of Fine Arts, New York University; the ISLAA Curatorial Fellowship at the New Museum, a program in support of exhibition and programming initiatives by emerging curators; and support of the Jaime Davidovich Foundation.",[],"text$2787e749-a275-4e75-9972-8d4e6a11febd",{},{"dimensions":28392,"alt":7,"copyright":7,"url":28349,"id":28350,"edit":28393},{"width":28346,"height":28347},{"x":156,"y":156,"zoom":172,"background":915},[28395],{"type":23,"text":28396,"spans":28397},"ISLAA will relocate to 142 Franklin Street in fall 2023",[],[],[],{"id":28401,"uid":28402,"url":7,"type":6292,"href":28403,"tags":28404,"first_publication_date":28405,"last_publication_date":28406,"slugs":28407,"linked_documents":28408,"lang":17,"alternate_languages":28409,"data":28410},"ZRZc2hEAACEAfdxY","islaa-curatorial-fellowship-at-the-new-museum","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZc2hEAACEAfdxY%22%29+%5D%5D",[11],"2023-09-29T05:13:34+0000","2024-03-14T13:50:42+0000",[28402],[],[],{"title":28411,"series":28412,"hero_image":28415,"hero_image_caption":28422,"location":28427,"date":28428,"end_date":7,"institutions":28429,"slices":28437,"meta_description":7,"meta_image":28450,"meta_title":7,"preview_image":28451,"preview_description":28454,"related_content":28458,"related_products":28459},"ISLAA Curatorial Fellowship at the New Museum",[28413],{"series":28414},{"link_type":30},{"dimensions":28416,"alt":28418,"copyright":7,"url":28419,"id":28420,"edit":28421},{"width":28417,"height":13941},5906,"Photograph of a woman holding a hand mirror as she looks her face. In the backdrop there is an expansive body of water.","https://images.prismic.io/islaa/90a37175-2136-48f2-946b-86c47f1f065b_Compressed_Aline-Motta-Outros-Fundamentos-_-Other-Foundations-3-2017-2019.jpg?auto=compress,format","ZRZcjxEAACMAfdvq",{"x":156,"y":156,"zoom":172,"background":915},[28423],{"type":23,"text":28424,"spans":28425},"Still from Aline Motta,(Other) Foundations, 2017–19. Video, color, sound, 15’ 48.” © and courtesy the artist.",[28426],{"start":2546,"end":968,"type":112},{"link_type":30},"2021-08-09",[28430],{"institution":28431},{"id":28432,"type":327,"tags":28433,"lang":17,"slug":27802,"first_publication_date":28434,"last_publication_date":28435,"uid":27802,"link_type":30,"key":28436,"isBroken":47},"ZRZc6hEAACUAfdxz",[],"2023-09-29T05:13:17+0000","2023-11-04T04:52:38+0000","3267f1cb-c910-44ef-bd55-0ccfba36004d",[28438],{"variation":101,"version":102,"items":28439,"primary":28441,"id":28449,"slice_type":522,"slice_label":7},[28440],{},{"text":28442},[28443,28446],{"type":23,"text":28444,"spans":28445},"ISLAA is delighted to announce a partnership with the New Museum of Contemporary Art in New York City to launch the ISLAA Curatorial Fellowship. This fellowship supports emerging curators dedicated to Latin American and Latinx art. We are honored to help amplify innovative, current approaches to the creative and discursive aspects of curation, critically reframing how we view, understand, and narrate the invaluable contributions of Latin American and Latinx artists to cultural production across space and time. Congratulations to inaugural fellow, Bernardo Mosqueira (b. 1988, Rio de Janeiro) a curator and writer based in New York. Mosqueira holds a masters in curatorial studies from the Center for Curatorial Studies (CCS), Bard College. He is founder and director of Solar dos Abacaxis since 2015 and director of Prêmio FOCO ArtRio since 2011.",[],{"type":23,"text":28447,"spans":28448},"The ISLAA Curatorial Fellow works intensively on exhibition planning, including research, publication editing, writing, coordination, and general administrative responsibilities. Mosqueira’s activities include curating the New Museum’s Screens Series, a platform for the presentation of new video works by emerging contemporary artists, beginning with an exhibition of Brazilian artist Aline Motta’s work. This is a yearlong, full-time position that reports to Margot Norton, the Allen and Lola Goldring Curator.\n",[],"text$e26d5637-d472-47a9-b17b-c8b7e5640689",{},{"dimensions":28452,"alt":28418,"copyright":7,"url":28419,"id":28420,"edit":28453},{"width":28417,"height":13941},{"x":156,"y":156,"zoom":172,"background":915},[28455],{"type":23,"text":28456,"spans":28457},"Bernardo Mosqueira is named the inaugural ISLAA Curatorial Fellow in partnership with the New Museum of Contemporary Art.",[],[],[],{"id":28461,"uid":28462,"url":7,"type":6292,"href":28463,"tags":28464,"first_publication_date":28465,"last_publication_date":28466,"slugs":28467,"linked_documents":28470,"lang":17,"alternate_languages":28471,"data":28472},"ZRZWoxEAACUAfdNe","june-16opening-reception-for-eros-rising-visions","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZWoxEAACUAfdNe%22%29+%5D%5D",[11],"2023-09-29T04:46:30+0000","2024-03-14T13:53:03+0000",[28468,28469],"opening-reception-for-eros-rising-visions-of-the-erotic-in-latin-american-art","june-16opening-reception-for-eros-rising-visions-of-the-erotic-in-latin-american-art",[],[],{"title":28473,"series":28474,"hero_image":28477,"hero_image_caption":28483,"location":28484,"date":4950,"end_date":7,"institutions":28488,"slices":28491,"meta_description":7,"meta_image":28516,"meta_title":7,"preview_image":28517,"preview_description":28520,"related_content":28525,"related_products":28526},"Opening Reception for \"Eros Rising: Visions of the Erotic in Latin American Art\"",[28475],{"series":28476},{"link_type":30},{"dimensions":28478,"alt":7,"copyright":7,"url":28480,"id":28481,"edit":28482},{"width":3929,"height":28479},1002,"https://images.prismic.io/islaa/4fa7dd72-5808-460b-81b5-bdf2a1a09a0d_LAME.0021_Small.jpg?auto=compress,format","ZRZWdhEAACIAfdMe",{"x":156,"y":156,"zoom":172,"background":915},[],{"id":709,"type":38,"tags":28485,"lang":17,"slug":40,"first_publication_date":711,"last_publication_date":712,"uid":713,"data":28486,"link_type":30,"key":28487,"isBroken":47},[],{"name":45},"7c7be3ac-2225-4b4e-96dc-d9ebacba6363",[28489],{"institution":28490},{"link_type":30},[28492],{"variation":101,"version":102,"items":28493,"primary":28495,"id":28515,"slice_type":522,"slice_label":7},[28494],{},{"text":28496},[28497,28500,28507,28512],{"type":23,"text":28498,"spans":28499},"Opening Reception: Thursday, June 16, 5–8 PM",[],{"type":23,"text":28501,"spans":28502},"Please join us for a public, in-person reception to celebrate the opening of the exhibition Eros Rising: Visions of the Erotic in Latin American Art at the Institute for Studies on Latin American Art (ISLAA).",[28503,28504],{"start":436,"end":9169,"type":112},{"start":436,"end":18025,"type":630,"data":28505},{"link_type":73,"url":28506},"https://islaa.org/exhibitions/exhibition-2022-jun-eros-rising#entry:27691@2:url",{"type":23,"text":28508,"spans":28509},"Capacity is limited, and guests are asked to register for timed entry using this sign-up sheet. In line with ISLAA’s COVID-19 protocol, guests are required to wear face coverings while on site.",[28510],{"start":2505,"end":6404,"type":630,"data":28511},{"link_type":73,"url":5164,"target":633},{"type":23,"text":28513,"spans":28514},"Please send any questions about this event to islaa.exhibitions@islaa.org.",[],"text$711514e0-5926-467c-bfd3-81806bb557a9",{},{"dimensions":28518,"alt":7,"copyright":7,"url":28480,"id":28481,"edit":28519},{"width":3929,"height":28479},{"x":156,"y":156,"zoom":172,"background":915},[28521],{"type":23,"text":28522,"spans":28523},"Please join us for a public, in-person reception to celebrate the opening ofEros Rising: Visions of the Erotic in Latin American Artfrom 5 to 8 PM on June 16.",[28524],{"start":2505,"end":9899,"type":112},[],[],{"id":28528,"uid":28529,"url":7,"type":6292,"href":28530,"tags":28531,"first_publication_date":28532,"last_publication_date":28533,"slugs":28534,"linked_documents":28536,"lang":17,"alternate_languages":28537,"data":28538},"ZRXI7BEAACIAfPPC","islaa-alaa-triennial-keynote","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRXI7BEAACIAfPPC%22%29+%5D%5D",[11],"2023-09-28T18:44:56+0000","2024-03-13T21:36:58+0000",[28529,28535],"islaa-alaa-triennial-keynot",[],[],{"title":28539,"series":28540,"hero_image":28543,"hero_image_caption":28549,"location":28550,"date":28551,"end_date":7,"institutions":28552,"slices":28555,"meta_description":7,"meta_image":28586,"meta_title":7,"preview_image":28587,"preview_description":28590,"related_content":28594,"related_products":28595},"ISLAA-ALAA Triennial Keynote",[28541],{"series":28542},{"link_type":30},{"dimensions":28544,"alt":28545,"copyright":7,"url":28546,"id":28547,"edit":28548},{"width":17233,"height":17233},"Graphic poster of the ALAA Triennial Conference in black-and-white","https://images.prismic.io/islaa/c0da6c18-a2ad-4812-95f2-1039aa1dd18e_ALAA-TRIENNIAL-IG.png?auto=compress,format","ZRXJVxEAACMAfPRw",{"x":156,"y":156,"zoom":172,"background":173},[],{"link_type":30},"2023-03-13",[28553],{"institution":28554},{"link_type":30},[28556],{"variation":101,"version":102,"items":28557,"primary":28559,"id":28585,"slice_type":522,"slice_label":7},[28558],{},{"text":28560},[28561,28564,28567,28570,28579],{"type":23,"text":28562,"spans":28563},"ISLAA is delighted to support the ISLAA-ALAA Keynote at the 2023 ALAA Triennial.\n",[],{"type":23,"text":28565,"spans":28566},"The 6th Association for Latin American Art (ALAA) Triennial conference, titled \"Encounters with the Archive in Latin American and Latinx Art\", will take place in Mexico City from March 15 to March 17, 2023.\n",[],{"type":23,"text":28568,"spans":28569},"The ISLAA-ALAA Keynote at the 6th Association for Latin American Art (ALAA) Triennial conference will be delivered by artist Sandy Rodríguez.",[],{"type":23,"text":28571,"spans":28572},"See the conference program. Watch the conference promotional video.",[28573,28576],{"start":14544,"end":430,"type":630,"data":28574},{"link_type":73,"url":28575,"target":633},"https://islaa.nyc3.cdn.digitaloceanspaces.com/media/Programa-ALAA-F.pdf#asset:56257@2:url",{"start":952,"end":12023,"type":630,"data":28577},{"link_type":73,"url":28578,"target":633},"https://islaa.nyc3.cdn.digitaloceanspaces.com/media/Video_ALAA_English.mp4#asset:56258@2:url",{"type":23,"text":28580,"spans":28581},"The conference will be livestream on the YouTube channel of the Instituto de Investigaciones Estéticas of the Universidad Nacional Autónoma de México (UNAM).",[28582],{"start":2666,"end":3635,"type":630,"data":28583},{"link_type":73,"url":28584,"target":633},"https://www.youtube.com/user/iieunam","text$d4b95e42-9e44-4a19-b3d5-f4c046b7278f",{},{"dimensions":28588,"alt":28545,"copyright":7,"url":28546,"id":28547,"edit":28589},{"width":17233,"height":17233},{"x":156,"y":156,"zoom":172,"background":173},[28591],{"type":23,"text":28592,"spans":28593},"ISLAA is delighted to support the ISLAA-ALAA Keynote at the 2023 ALAA Triennial",[],[],[],{"id":28597,"uid":28188,"url":7,"type":6292,"href":28598,"tags":28599,"first_publication_date":28600,"last_publication_date":28601,"slugs":28602,"linked_documents":28603,"lang":17,"alternate_languages":28604,"data":28605},"ZRZYiBEAACEAfdYt","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZYiBEAACEAfdYt%22%29+%5D%5D",[11],"2023-09-29T04:55:55+0000","2024-03-14T13:57:21+0000",[28193],[],[],{"title":28197,"series":28606,"hero_image":28611,"hero_image_caption":28616,"location":28617,"date":28222,"end_date":7,"institutions":28618,"slices":28621,"meta_description":7,"meta_image":28700,"meta_title":7,"preview_image":28701,"preview_description":28704,"related_content":28707,"related_products":28708},[28607],{"series":28608},{"id":19036,"type":1366,"tags":28609,"lang":17,"slug":19038,"first_publication_date":19039,"last_publication_date":19039,"uid":19038,"link_type":30,"key":28610,"isBroken":47},[],"29bfd954-710d-4b17-96c8-785df873ce54",{"dimensions":28612,"alt":7,"copyright":7,"url":28613,"id":28614,"edit":28615},{"width":28205,"height":1816},"https://images.prismic.io/islaa/e2f34d58-fbba-4866-baae-4b29e32eee0a_clavis_logo_complete.jpg?auto=compress,format","ZRZYSxEAACMAfdXV",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},[28619],{"institution":28620},{"link_type":30},[28622,28631,28655,28676],{"variation":101,"version":102,"items":28623,"primary":28629,"id":28630,"slice_type":10148,"slice_label":7},[28624],{"category":28625,"value":28626},"Institutions",{"id":24654,"type":327,"tags":28627,"lang":17,"slug":23211,"first_publication_date":24656,"last_publication_date":24657,"uid":23213,"link_type":30,"key":28628,"isBroken":47},[],"f2dbacc4-0743-4a4f-98f2-f27fd7358889",{},"credits$9e01d8b1-8ec9-4d3b-8bfe-253258035d06",{"variation":101,"version":102,"items":28632,"primary":28634,"id":28654,"slice_type":522,"slice_label":7},[28633],{},{"text":28635},[28636,28638,28640,28648,28650,28652],{"type":23,"text":28238,"spans":28637},[],{"type":23,"text":28241,"spans":28639},[],{"type":23,"text":28244,"spans":28641},[28642,28644,28646],{"start":3256,"end":4688,"type":630,"data":28643},{"link_type":73,"url":28248,"target":633},{"start":9781,"end":15217,"type":630,"data":28645},{"link_type":73,"url":28251,"target":633},{"start":416,"end":8756,"type":630,"data":28647},{"link_type":73,"url":28254,"target":633},{"type":23,"text":138,"spans":28649},[],{"type":23,"text":28258,"spans":28651},[],{"type":23,"text":28261,"spans":28653},[],"text$aa80841d-f9af-4d18-b6de-aaa41588dd8d",{"variation":101,"version":102,"items":28656,"primary":28658,"id":28675,"slice_type":522,"slice_label":7},[28657],{},{"text":28659},[28660,28664,28667,28669,28671],{"type":23,"text":28661,"spans":28662},"Call For Proposals",[28663],{"start":156,"end":157,"type":407},{"type":23,"text":28665,"spans":28666},"This workshop is intended to serve doctoral students of modern and contemporary Latin American and Latinx art and visual culture from the nineteenth century to the present day. Full-time students with at least one year of completed doctoral coursework at an accredited university, and currently working on a dissertation proposal or a chapter manuscript, are eligible to apply. ",[],{"type":23,"text":28277,"spans":28668},[],{"type":23,"text":28280,"spans":28670},[],{"type":23,"text":28283,"spans":28672},[28673],{"start":1039,"end":629,"type":630,"data":28674},{"link_type":73,"url":28254,"target":633},"text$4e649721-f25e-4916-88cf-e5e4de11b793",{"variation":101,"version":102,"items":28677,"primary":28679,"id":28699,"slice_type":522,"slice_label":7},[28678],{},{"text":28680},[28681,28685,28687,28689,28693],{"type":23,"text":28682,"spans":28683},"About the Center for Latin American Visual Studies (CLAVIS), University of Texas at Austin",[28684],{"start":156,"end":4348,"type":407},{"type":23,"text":28298,"spans":28686},[],{"type":23,"text":28301,"spans":28688},[],{"type":23,"text":28304,"spans":28690},[28691],{"start":156,"end":2546,"type":630,"data":28692},{"link_type":73,"url":28308},{"type":23,"text":28310,"spans":28694},[28695,28697],{"start":5947,"end":12012,"type":630,"data":28696},{"link_type":73,"url":28314},{"start":7965,"end":14149,"type":630,"data":28698},{"link_type":73,"url":28317},"text$1e3e42ec-a183-45e1-b222-466f7a4372f7",{},{"dimensions":28702,"alt":7,"copyright":7,"url":28613,"id":28614,"edit":28703},{"width":28205,"height":1816},{"x":156,"y":156,"zoom":172,"background":915},[28705],{"type":23,"text":28325,"spans":28706},[],[],[],{"id":28710,"uid":28711,"url":7,"type":6292,"href":28712,"tags":28713,"first_publication_date":28714,"last_publication_date":28715,"slugs":28716,"linked_documents":28719,"lang":17,"alternate_languages":28720,"data":28721},"ZRZXIREAACIAfdQW","closing-reception-for-born-of-informalismo","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZXIREAACIAfdQW%22%29+%5D%5D",[11],"2023-09-29T04:48:37+0000","2024-03-14T13:53:35+0000",[28717,28718],"closing-reception-for-born-of-informalismo-marta-minujin-and-the-nascent-body-of-performance","may-17closing-reception-for-born-of-informalismo-marta-minujin-and-the-nascent-body-of-performance",[],[],{"title":28722,"series":28723,"hero_image":28726,"hero_image_caption":28731,"location":28732,"date":28736,"end_date":7,"institutions":28737,"slices":28740,"meta_description":7,"meta_image":28762,"meta_title":7,"preview_image":28763,"preview_description":28766,"related_content":28770,"related_products":28771},"Closing Reception for \"Born of Informalismo: Marta Minujín and the Nascent Body of Performance\"",[28724],{"series":28725},{"link_type":30},{"dimensions":28727,"alt":7,"copyright":7,"url":28728,"id":28729,"edit":28730},{"width":167,"height":168},"https://images.prismic.io/islaa/8d212d07-25d6-4378-9068-ad805db66004_20220228_ISLAA_Marta_Minujin_042_2022-04-21-193908_bhmb.jpg?auto=compress,format","ZRZW_REAACMAfdPj",{"x":156,"y":156,"zoom":172,"background":915},[],{"id":709,"type":38,"tags":28733,"lang":17,"slug":40,"first_publication_date":711,"last_publication_date":712,"uid":713,"data":28734,"link_type":30,"key":28735,"isBroken":47},[],{"name":45},"a59278a1-46f5-48da-bfa6-1565be8e8ec6","2022-05-17",[28738],{"institution":28739},{"link_type":30},[28741],{"variation":101,"version":102,"items":28742,"primary":28744,"id":28761,"slice_type":522,"slice_label":7},[28743],{},{"text":28745},[28746,28753,28759],{"type":23,"text":28747,"spans":28748},"Please join us for a public, in-person reception to celebrate the exhibition Born of Informalismo: Marta Minujín and the Nascent Body of Performance at the Institute for Studies on Latin American Art (ISLAA), featuring special guest Marta Minujín. This event will take place from 4 to 7 PM on Tuesday, May 17.",[28749,28750],{"start":5355,"end":18025,"type":112},{"start":5355,"end":18025,"type":630,"data":28751},{"link_type":73,"url":28752},"https://islaa.org/exhibitions/exhibition-2022-mar-born-of-informalismo#entry:19962@2:url",{"type":23,"text":28754,"spans":28755},"Capacity is limited, and guests must register for timed entry using this sign-up sheet. 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To register, please fill out this online form.\n\nFriday, April 14 at 5:30 PM: Tour Led by Laura Hakel, Co-Curator of Ñande Róga\n\nFriday, April 21 at 12 PM: Tour Led by Rachel Eboh, Co-Curator of Ñande Róga\n\nFriday, May 5 at 12 PM: Tour Led by Nicasia Solano, Curatorial Fellow at ISLAA\n\nTo inquire about scheduling a group tour at a different time, please email islaa.exhibitions@islaa.org.",[29129,29130,29134,29136],{"start":6404,"end":4492,"type":112},{"start":12631,"end":29131,"type":630,"data":29132},357,{"link_type":73,"url":29133,"target":633},"https://forms.gle/ZbMeWsx7ydaF5Dmn9",{"start":29135,"end":9561,"type":112},428,{"start":29137,"end":29138,"type":112},506,516,"text$864484cd-6976-4e79-8297-1b96076aa372",{},{"dimensions":29142,"alt":7,"copyright":7,"url":29088,"id":29089,"edit":29143},{"width":6128,"height":167},{"x":156,"y":156,"zoom":172,"background":915},[29145],{"type":23,"text":29146,"spans":29147},"Curators and ISLAA staff will lead tours of the exhibition Ñande Róga: The Feliciano Centurión Archival Collection on April 14, April 21, and May 5. 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Their poetic and open-ended gestures constituted nothing less than erosions of authoritarian control, as exemplified by Eltit’s actions with the group CADA (Colectivo Acciones de Arte) and Zabala’s public installations.",[],{"type":23,"text":29332,"spans":29333},"Guest discussants will lend their historical expertise to these conversations: Jerónimo Duarte-Riascos, assistant professor in the Department of Latin American and Iberian Cultures at Columbia University, will accompany Eltit in dialogue. Zabala will be joined by Iria Candela, Estrellita B. Brodsky Curator of Latin American Art at the Metropolitan Museum of Art.\n",[],{"type":23,"text":29335,"spans":29336},"These conversations were conducted in Spanish. Read the translated transcription in English here. 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Photo: Arturo Sánchez",[29401],{"start":157,"end":2666,"type":112},{"id":709,"type":38,"tags":29403,"lang":17,"slug":40,"first_publication_date":711,"last_publication_date":712,"uid":713,"data":29404,"link_type":30,"key":29405,"isBroken":47},[],{"name":45},"ae78a9cf-6418-4682-9689-b709ba1e3457",[29407],{"institution":29408},{"link_type":30},[29410],{"variation":101,"version":102,"items":29411,"primary":29413,"id":29430,"slice_type":522,"slice_label":7},[29412],{},{"text":29414},[29415,29418,29422,29428],{"type":23,"text":29416,"spans":29417},"Opening Reception: Thursday, October 13, 5–8 PM",[],{"type":23,"text":29419,"spans":29420},"Please join us for a public, in-person reception to celebrate the opening of the exhibition Political/Subjective Maps: Anna Bella Geiger, Magali Lara, Lea Lublin, and Margarita Paksa at the Institute for Studies on Latin American Art (ISLAA).",[29421],{"start":436,"end":18944,"type":112},{"type":23,"text":29423,"spans":29424},"Guests are asked to register for timed entry using this sign-up sheet. 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The ISLAA Research Grant is an opportunity for MA and PhD students enrolled in graduate university programs in the US and abroad to conduct novel investigations into themes, geographies, and chronologies of modern and contemporary art and visual culture from Latin America, the Caribbean, and the diaspora. ",[],{"type":23,"text":29517,"spans":29518},"The ISLAA Research Grant aims to expand access to research funding by supporting the incredible talent of emerging scholars. Research may be conducted anywhere in the world and must be directed toward MA or PhD dissertations, peer-reviewed journal articles, and conference presentations. Research activities may include consulting resources at libraries, museums, and archives; interviewing artists, curators, and scholars; and arranging studio visits. The Research Grant will award three grantees up to US$2,500. Grantees will be chosen by a selection committee of scholars and arts professionals.",[],{"type":23,"text":29520,"spans":29521},"The application materials required include a research proposal, calendar, itinerary, and budget. 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De León, Associate Curator of Latino Design at Cooper Hewitt, Smithsonian Design Museum. Afterwards, Gonzalo Guerrero and Tara Ridgedell of independent design and risograph studio Secret Riso Club (SRC) will present their collage kit inspired by Giménez’s graphic design work. The kit will be available for free as a limited run print during the event and will also be accessible as a digital download on ISLAA’s website. ",[],{"type":23,"text":29619,"spans":29620},"The launch is open to the public and will take place at ISLAA, located at 142 Franklin Street, New York. Attendees are encouraged to register online in advance. The event will be held in English, and a recording will be made available online following the event. ",[],"text$bf97c5dc-2337-4db8-a484-9ac21dc36784","Celebrate the release of Edgardo Giménez: One of a Kind with a presentation by Christina L. 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This program invites graduate students and emerging scholars in art history and related disciplines to participate in informal discussions among their peers. The thematic focus is broad and welcomes interdisciplinary methodological approaches, including, but not limited to, temporal and geographic proposals of an innovative nature. The workshop seeks to foster and strengthen further interconnections within research communities via creative intellectual exchanges. Established by ISLAA and the Institute of Fine Arts in 2017, South and About! happens twice every semester and takes place at The Institute of Fine Arts, NYU. 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Curated by Claude Mohr, this exhibition is part of the [On View: Curatorial Studies] series and held at the Gary R. Libby Focus Gallery between January 11 and 26, 2024 and it is part of the ISLAA Artist Seminar Initiative supported by the ISLAA in collaboration with the University Galleries and the School of Art and Art History. ",[29864],{"start":281,"end":2666,"type":112},{"type":23,"text":29866,"spans":29867},"From his homoerotic interrogations of bullfighting to his more recent, achromatic abstractions, themselves transmutations of the bullfighter’s cape, the multifaceted oeuvre of José Gabriel Fernández (Caracas, Venezuela, 1957) reflects a sustained engagement with desire, ephemerality, and form. José Gabriel Fernández, A Brief History of Drawing presents a series of “action drawings” restored as video projections that explore the tensions between materiality and illusion, transience and permanence. 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Taste, Turn: Unleashing the Senses in the Art of the Americas brought together interdisciplinary and cross-temporal scholarship focusing on objects and practices by makers and artists in the Americas that engage in multisensorial experiences. From art, food, and cannibalism in Brazil to orality in colonial Andean culture, physiological aesthetics of Mexican modernism, and technological style in ancient Colombian goldwork, the symposium explored how social and historical conditions shape epistemologies and multisensorial productions of art and culture in Latin America and the Caribbean. By placing an emphasis on multiple senses and their interrelation, the event drew upon and expanded on the “sensory turn,” an approach more commonly associated with disciplines such as anthropology, history, and cultural studies since the late 1980s. Panelists asked how we might move past the dominance of vision and visual culture in art to include taste, touch, and smell in our understanding of aesthetic-sensorial experience, expanding and perhaps disrupting art historical categories. ",[30000],{"start":156,"end":7273,"type":112},{"type":23,"text":30002,"spans":30003},"With keynote lectures by María Magdalena Campos-Pons, artist and Professor of Fine Arts, Cornelius Vanderbilt Endowed Chair of Fine Arts, Vanderbilt University, and Claire Tancons, writer and curator. The symposium closed with an original work by performance artist Castiel Vitorino Brasileiro.\n\nThe symposium was coordinated by Professors Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art at the Institute of Fine Arts; Anna Indych-López, professor of 20th-Century Latin American and Latinx Art at The Graduate Center, CUNY; Katherine Manthorne, professor of Modern Art of the Americas at The Graduate Center, CUNY; Lisa Trever, Lisa and Bernard Selz Associate Professor in Pre-Columbian Art History and Archaeology, Columbia University; Alexander Alberro, Virginia Bloedel Wright '51 Professor of Art History, Barnard College; and Kellie E. Jones, Hans Hofmann Professor of Modern Art, Columbia University. The symposium was organized by current PhD candidates Francesca Ferrari, Tie Jojima, Horacio Ramos, Julián Sánchez González, and Gwen Unger, and PhD student Juan Gabriel Ramírez Bolívar.",[],{"type":23,"text":30005,"spans":30006},"The Fifth Annual Symposium of Latin American Art was organized by the Institute of Fine Arts, New York University; The Graduate Center, CUNY; and Columbia University, with the support of the Institute for Studies on Latin American Art (ISLAA) and the John Rewald Endowment at The Graduate Center, CUNY.",[],"text$4d32b683-0f54-44f7-aa7b-46f4c2c70a89",{"variation":101,"version":102,"items":30009,"primary":30011,"id":30130,"slice_type":522,"slice_label":7},[30010],{},{"text":30012},[30013,30016,30020,30024,30027,30030,30032,30037,30040,30043,30046,30050,30052,30056,30059,30063,30067,30072,30076,30079,30082,30086,30090,30093,30097,30100,30103,30105,30109,30113,30116,30120,30123,30127],{"type":23,"text":10562,"spans":30014},[30015],{"start":156,"end":10565,"type":407},{"type":23,"text":30017,"spans":30018},"Thursday, April 8",[30019],{"start":156,"end":2680,"type":407},{"type":23,"text":30021,"spans":30022},"Welcome and Introductory Remarks",[30023],{"start":156,"end":629,"type":407},{"type":23,"text":30025,"spans":30026},"6 p.m.–7:30 p.m. \nAnna Indych-López, Professor of 20th-Century Latin American and Latinx Art at the Graduate Center, CUNY\nEdward J. Sullivan, Helen Gould Sheppard Professor in the History of Art at the Institute of Fine Arts, New York University ",[],{"type":23,"text":30028,"spans":30029},"María Magdalena Campos-Pons, Keynote Talk and Q&A\n“Trance/Senses. Performativity: A Conversation with María Magdalena Campos-Pons”",[],{"type":23,"text":138,"spans":30031},[],{"type":23,"text":30033,"spans":30034},"Friday, April 9\nPanel 1: Taste / Ingestion / Oral Epistemologies",[30035,30036],{"start":156,"end":281,"type":407},{"start":901,"end":7837,"type":407},{"type":23,"text":30038,"spans":30039},"11 a.m.–11:45 a.m. \nModerator: Horacio Ramos, PhD Candidate, The Graduate Center, CUNY \nDiscussant: Susanna Temkin, Curator at El Museo del Barrio, New York",[],{"type":23,"text":30041,"spans":30042},"“Tasting the Enemy: Art, Food, and Cannibalism in Brazil,” Rodrigo Brum, Lecturer in Film and Media Installation, German University in Cairo",[],{"type":23,"text":30044,"spans":30045},"“Stretchy, Glossy, and 'Disgusting:' Mopa Mopa practice and Orality in Colonial Andean Culture,” Catalina Ospina, PhD candidate, University of Chicago",[],{"type":23,"text":30047,"spans":30048},"“On Ayrson Heráclito’s Bori, 2009,” Bernardo Mosqueira, MA student, CCS Bard; artistic director, Solar dos Abacaxis, Rio de Janeiro.",[30049],{"start":2546,"end":402,"type":112},{"type":23,"text":138,"spans":30051},[],{"type":23,"text":30053,"spans":30054},"\nPanel 2: Turn / Movement / Space ",[30055],{"start":172,"end":1878,"type":407},{"type":23,"text":30057,"spans":30058},"11:50 a.m.–12:35 p.m.\nModerator: Tie Jojima, PhD candidate, The Graduate Center, CUNY\nDiscussant: Katia Maciel, professor, Federal University of Rio de Janeiro",[],{"type":23,"text":30060,"spans":30061},"“Palpitaciones telúricas: Mexican Modernism and Physiological Aesthetics in Landscape Painting,” Rebeca Barquera, PhD candidate, Universidad Nacional Autónoma de México (UNAM) ",[30062],{"start":172,"end":628,"type":112},{"type":23,"text":30064,"spans":30065},"“Ana Teresa Fernández’s Borrando la Frontera, Transborder Touch, and Refusing to Side with Colonialism,” Barbara Sostaita, PhD candidate, University of North Carolina–Chapel Hill",[30066],{"start":628,"end":4504,"type":112},{"type":23,"text":30068,"spans":30069},"“Through Other Senses: Cildo Meireles’ Eureka/Blindhotland (1970-1975) and Através [Through] (1983-1989),” Caroline Alciones de Oliveira Leite, PhD candidate, Federal University of Rio de Janeiro",[30070,30071],{"start":3196,"end":1892,"type":112},{"start":7232,"end":7192,"type":112},{"type":23,"text":30073,"spans":30074},"\nPanel 3: Touch / Haptic",[30075],{"start":172,"end":628,"type":407},{"type":23,"text":30077,"spans":30078},"2 p.m.–2:45 p.m.\nModerator: Gwen Unger, PhD candidate, Columbia University\nDiscussant: Ana M. Franco, PhD, associate professor, Department of Art History at Universidad de los Andes, Bogotá, Colombia",[],{"type":23,"text":30080,"spans":30081},"“Flesh Made Word: Polysemic Sensation in the Met Feather Mosaic Triptych,” Nathalie Miraval, PhD student, Yale University ",[],{"type":23,"text":30083,"spans":30084},"“The Distinction between the Senses of Sight and Touch in the Definition of a ‘Mestizo Style,’” Cristóbal F. Barria Bignotti, boursier at the Centre allemand d’histoire de l’art, Paris",[30085],{"start":110,"end":9789,"type":112},{"type":23,"text":30087,"spans":30088},"\nPanel 4: Ritual / Embodiment",[30089],{"start":172,"end":1013,"type":407},{"type":23,"text":30091,"spans":30092},"2:50 p.m.–3:35 p.m. \nModerator: Julián Sánchez González, PhD candidate, Columbia University\nDiscussant: Maya Jiménez, PhD, adjunct assistant professor of Art History at Pace University and Borough of Manhattan Community College",[],{"type":23,"text":30094,"spans":30095},"“Scenting Reparation: Aromas as Ritual Remedies in the Colonial Paintings of Cristo en el aposentillo,” Carolina Sacristán Ramírez, PhD, Instituto Tecnológico y de Estudios Superiores de Monterrey, Campus Puebla",[30096],{"start":5355,"end":7233,"type":112},{"type":23,"text":30098,"spans":30099},"“La danza andina como performance y práctica religiosa para la sanación del duelo,” Antuané de la Flor, MA, University of Engineering and Technology, Lima",[],{"type":23,"text":30101,"spans":30102},"“Molten and Modified: Technological Style and Processual Facture in Goldwork from Ancient Colombia,” Eric Mazariegos, PhD student, Columbia University",[],{"type":23,"text":138,"spans":30104},[],{"type":23,"text":30106,"spans":30107},"Saturday, April 10\n",[30108],{"start":156,"end":157,"type":407},{"type":23,"text":30110,"spans":30111},"\nWelcome and Introductory Remarks",[30112],{"start":156,"end":2547,"type":407},{"type":23,"text":30114,"spans":30115},"12 p.m.\nKatherine Manthorne, professor of Modern Art of the Americas at The Graduate Center, CUNY\nLisa Trever, Lisa and Bernard Selz Associate Professor in Pre-Columbian Art History and Archaeology, Columbia University",[],{"type":23,"text":30117,"spans":30118},"\nClaire Tancons, Keynote Talk and Q&A",[30119],{"start":156,"end":2623,"type":407},{"type":23,"text":30121,"spans":30122},"12 p.m.–1:30 p.m.\n“Mangrove as Muse: Sensing the Skin of the Unseen (Reflections on an African Diasporic Sensorium)”",[],{"type":23,"text":30124,"spans":30125},"\nCastiel Vitorino Brasileiro, Performance and Q&A",[30126],{"start":156,"end":6697,"type":407},{"type":23,"text":30128,"spans":30129},"1:30 p.m.–2:15 p.m.\n“A cambonagem em um incêndio inevitável”",[],"text$5cd23f8c-bba9-4abd-9fbb-af82020d31b6",{},{"dimensions":30133,"alt":29940,"copyright":7,"url":29941,"id":29942,"edit":30134},{"width":1869,"height":25642},{"x":156,"y":156,"zoom":172,"background":915},[30136],{"type":23,"text":30137,"spans":30138},"The Fifth Annual Symposium of Latin American Art explored the history of cultural and artistic practices that engage with multiple senses in the Americas.",[],[],[],[],{"id":30143,"uid":30144,"url":7,"type":464,"href":30145,"tags":30146,"first_publication_date":30147,"last_publication_date":30148,"slugs":30149,"linked_documents":30151,"lang":17,"alternate_languages":30152,"data":30153},"ZR76BBIAACIAv668","2023-oct-ucp-moncada","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZR76BBIAACIAv668%22%29+%5D%5D",[11],"2023-10-05T18:04:09+0000","2024-03-13T21:33:53+0000",[30150],"book-launch-for-refined-material",[],[],{"title":30154,"series":30155,"hero_image":30158,"hero_caption":30163,"location":30164,"date":30168,"end_date":7,"institutions":30169,"linked_material":30172,"slices":30175,"meta_description":30226,"meta_image":30227,"meta_title":30154,"preview_image":30228,"preview_description":30231,"preview_image_caption":30235,"related_content":30236,"related_products":30237},"Book launch for \"Refined 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25, 2023\n6:30 PM EDT\nRegister for the event",[30207],{"start":3256,"end":4701,"type":630,"data":30208},{"link_type":73,"url":30209,"target":633},"https://docs.google.com/forms/u/0/d/e/1FAIpQLSe1gVRI5SY2bANmV5eeKq1lKtHh3Pb9-3XxW-hXtn3X2hr9kQ/formrestricted",{"type":23,"text":30211,"spans":30212},"Join us for the launch of Sean Nesselrode Moncada’s book Refined Material: Petroculture and Modernity in Venezuela (August 2023), which explores the integral relationship between the global oil industry and the rise of geometric abstraction, kinetic art, and modern architecture in midcentury Venezuela. This event features introductions by Studies on Latin American Art series editor Alexander Alberro followed by a conversation with the author and artist Rolando Peña, whose work is featured in the publication.",[30213,30214],{"start":6419,"end":4779,"type":112},{"start":30215,"end":9770,"type":112},302,{"type":23,"text":30217,"spans":30218},"The launch is open to the public and will take place in person at ISLAA, located at 142 Franklin Street in New York City. Attendees are encouraged to register online in advance. The conversation will be held in English, and a recording will be made available online following the event. ",[],{"type":23,"text":30220,"spans":30221},"The University of California Press published Refined Material in August 2023 as part of the series Studies on Latin American Art. Books in the series encompass studies of art history and cultural practices emerging from Central and South America, the Caribbean, and the Latin American diaspora in the twentieth and twenty-first centuries. International and cosmopolitan in scope, the series seeks to address the production, exhibition, and dissemination of art in and between countries and continents. This series is supported by the Institute for Studies on Latin American Art (ISLAA). ",[30222,30223],{"start":145,"end":7339,"type":112},{"start":2517,"end":3865,"type":630,"data":30224},{"link_type":73,"url":23629,"target":633},"text$d56a8578-1a76-4af4-8b13-347df22cad0a","Celebrate the release of Sean Nesselrode Moncada’s book Refined Material: Petroculture and Modernity in Venezuela (August 2023).",{},{"dimensions":30229,"alt":7,"copyright":7,"url":30160,"id":30161,"edit":30230},{"width":1959,"height":1959},{"x":156,"y":156,"zoom":172,"background":915},[30232],{"type":23,"text":30226,"spans":30233},[30234],{"start":3635,"end":3597,"type":112},[],[],[],{"id":30239,"uid":30240,"url":7,"type":6292,"href":30241,"tags":30242,"first_publication_date":30243,"last_publication_date":30244,"slugs":30245,"linked_documents":30247,"lang":17,"alternate_languages":30248,"data":30249},"ZRZeLBEAACMAfd5h","research-by-karen-grimson-included-in-sarah-grilo","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZeLBEAACMAfd5h%22%29+%5D%5D",[11],"2023-09-29T05:18:39+0000","2024-03-14T13:46:08+0000",[30246],"research-by-karen-grimson-included-in-sarah-grilo-indicios-at-galerie-lelong",[],[],{"title":30250,"series":30251,"hero_image":30254,"hero_image_caption":30262,"location":30267,"date":30268,"end_date":30269,"institutions":30270,"slices":30273,"meta_description":7,"meta_image":30293,"meta_title":7,"preview_image":30294,"preview_description":30297,"related_content":30301,"related_products":30302},"Research by Karen Grimson included in “Sarah Grilo: Indicios” at Galerie Lelong",[30252],{"series":30253},{"link_type":30},{"dimensions":30255,"alt":30258,"copyright":7,"url":30259,"id":30260,"edit":30261},{"width":30256,"height":30257},2470,1582,"Installation of large-scale paintings by Sarah Grilo, featuring muted palettes and dense portions of abstract paint strokes and figural/graphic elements against muted or pastel grounds.","https://images.prismic.io/islaa/f210927d-65fb-45e8-b1b4-a032bcd13f48_Screen-Shot-2022-01-10-at-5.19.30-PM.jpg?auto=compress,format","ZRZd4xEAACEAfd3x",{"x":156,"y":156,"zoom":172,"background":915},[30263],{"type":23,"text":30264,"spans":30265},"Installation view ofSarah Grilo: Indiciosat Galerie Lelong, Paris. Image courtesy Galerie Lelong.",[30266],{"start":921,"end":2666,"type":112},{"link_type":30},"2021-03-11","2021-04-30",[30271],{"institution":30272},{"link_type":30},[30274],{"variation":101,"version":102,"items":30275,"primary":30277,"id":30292,"slice_type":522,"slice_label":7},[30276],{},{"text":30278},[30279,30285,30289],{"type":23,"text":30280,"spans":30281},"Read the essay",[30282],{"start":156,"end":1039,"type":630,"data":30283},{"link_type":73,"url":30284,"target":633},"https://issuu.com/galerie-lelong/docs/test_grilo",{"type":23,"text":30286,"spans":30287},"ISLAA congratulates Karen Grimson on the inclusion of her essay on artist Sarah Grilo in Galerie Lelong’s exhibition catalog for Indicios, on view March 11–April 30, 2021. Grimson’s research on Grilo was made possible by an ISLAA Travel Grant, and a version of this text appears in the sixth issue of our in-house journal, Vistas.",[30288],{"start":11286,"end":5125,"type":112},{"type":23,"text":30290,"spans":30291},"The archives of Sarah Grilo and J.A. Fernández-Muro are on loan to ISLAA from the artists’ estate, whom we thank for their partnership and collaboration. An exhibition at ISLAA in Fall 2021, curated by Megan Kincaid, spotlights these two artists.",[],"text$d4965f44-83e4-4485-ac2a-f806b743a904",{},{"dimensions":30295,"alt":30258,"copyright":7,"url":30259,"id":30260,"edit":30296},{"width":30256,"height":30257},{"x":156,"y":156,"zoom":172,"background":915},[30298],{"type":23,"text":30299,"spans":30300},"ISLAA congratulates Karen Grimson on the inclusion of her essay, made possible by an ISLAA Travel Grant.",[],[],[],{"id":30304,"uid":30305,"url":7,"type":6292,"href":30306,"tags":30307,"first_publication_date":30308,"last_publication_date":30309,"slugs":30310,"linked_documents":30313,"lang":17,"alternate_languages":30314,"data":30315},"ZRRR7BQAAC0AsJGV","cayc-files","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRRR7BQAAC0AsJGV%22%29+%5D%5D",[11],"2023-09-27T16:01:51+0000","2024-03-14T13:45:34+0000",[30311,30312],"introducing-the-cayc-files","about-the-centro-de-arte-y-comunicacion-cayc",[],[],{"title":30316,"series":30317,"hero_image":30320,"hero_image_caption":30326,"location":30327,"date":30328,"end_date":7,"institutions":30329,"slices":30332,"meta_description":30425,"meta_image":30426,"meta_title":30316,"preview_image":30432,"preview_description":30435,"related_content":30438,"related_products":30439},"Introducing The CAYC Files",[30318],{"series":30319},{"link_type":30},{"dimensions":30321,"alt":30322,"copyright":7,"url":30323,"id":30324,"edit":30325},{"width":12723,"height":6430},"This is a graphic illustration that compiles vertical detail-views of different documents. Each detail view shows a different, sometimes less recognizable graphic image; one shows a man, another text, and another an apparent grid pattern crossed with orthogonal lines. The color of each detail-view is a pale, washed yellow or pink.","https://images.prismic.io/islaa/0531eaef-aa66-4c9e-8eed-a2406c203271_cayc-files-hero.jpeg?auto=compress,format","ZOZVgBAAACMA0jyl",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2023-06-15",[30330],{"institution":30331},{"link_type":30},[30333,30362,30387,30409],{"variation":101,"version":102,"items":30334,"primary":30336,"id":30361,"slice_type":522,"slice_label":7},[30335],{},{"text":30337},[30338,30341,30344,30347,30350,30353,30356],{"type":23,"text":30339,"spans":30340},"We are excited to announce the launch of the CAYC Files, the first initiative organized as part of a long-term partnership between the International Center for the Arts of the Americas (ICAA) at the Museum of Fine Arts, Houston, and ISLAA.\n",[],{"type":23,"text":30342,"spans":30343},"With the aim of making archival resources open-access to international scholars, this collaboration centers on the digitization and annotation of key documents published by the Buenos Aires–based Centro de Arte y Comunicación (CAYC). The CAYC Files will be made available free of charge through an ISLAA-ICAA microsite on the ICAA’s Documents of Latin American and Latino Art digital platform. The initial launch of nearly 250 digitized files on Thursday, June 15, 2023, will be followed by the release of 350 additional files throughout the fall of 2023. The remaining files will be released alongside corresponding programming through spring 2024.\n",[],{"type":23,"text":30345,"spans":30346},"Since its founding in 2011, ISLAA has assembled primary-source media from an array of CAYC participants, including over 600 “gacetillas” or newsletters. These newsletters, aimed at publicizing CAYC’s activities and initiatives, are the primary focus of the first phase of the CAYC Files collaboration.",[],{"type":23,"text":30348,"spans":30349},"For the past two years, a team of CAYC experts in Buenos Aires supported by ISLAA has been researching and annotating each newsletter, and the ICAA is processing these documents for publication on the ISLAA-ICAA microsite. The initial set of files treated by the researchers concentrates on the CAYC’s innovative approach to exhibitions.\n",[],{"type":23,"text":30351,"spans":30352},"Founded by Jorge Glusberg, the CAYC operated as a laboratory for experimental multidisciplinary artistic practices in Argentina and beyond. During its peak years of activity (from 1968 to 1977), the CAYC produced more than 900 one- or two-page “gacetillas” that Glusberg mailed to hundreds of sympathizers and media outlets across the globe. These documents created a network of figures invested in pursuing new forms of artistic communication and exchange across continents. The “gacetillas” represent an invaluable cache of documents critical for studying key movements of the 1960s and 1970s, as well as the discourse around movements including Conceptualism, Systems art, Minimalism, Video art, and New Media.\n",[],{"type":23,"text":30354,"spans":30355},"Despite their significance for the study of contemporary art, the “gacetillas” have, until now, been largely inaccessible and dispersed among many institutions and other repositories, resulting in a partial picture of the CAYC archive. This initiative will create the first centralized digital resource for the comprehensive study of the CAYC and its significance for Latin American art in the 1960s and 1970s.\n",[],{"type":23,"text":30357,"spans":30358},"Explore the CAYC Files",[30359],{"start":156,"end":2610,"type":630,"data":30360},{"link_type":73,"url":22617,"target":633},"text$6c6cb59d-816c-4c71-b397-46e224a084a1",{"variation":101,"version":102,"items":30363,"primary":30365,"id":30386,"slice_type":522,"slice_label":7},[30364],{},{"text":30366},[30367,30371,30374,30383],{"type":23,"text":30368,"spans":30369},"About the Centro de Arte y Comunicación (CAYC)",[30370],{"start":156,"end":998,"type":407},{"type":23,"text":30372,"spans":30373},"Established in 1968, the CAYC served to connect artists and theorists from art, architecture, and communications in order to foster theoretical debates on topics related to contemporary art, aesthetics, politics, sociology, urbanism, cybernetics, Systems art, and New Media.\n",[],{"type":23,"text":30375,"spans":30376},"The CAYC organized exhibitions of both affiliated and guest artists from Latin America, the United States, and Europe (as well as Japan), including its first exhibition Arte y cibernética (1969); Hacia un perfil del arte latinoamericano (1972); Arte de Sistemas en Latinoamérica (1974), presented in Antwerp, Brussels, and London; and the installation Signos en ecosistemas artificiales (1977) at the 14th São Paulo Biennial, for which the Grupo CAYC was awarded the Grande Prêmio Itamaraty.\n",[30377,30378,30379,30381],{"start":7024,"end":5483,"type":112},{"start":2626,"end":5996,"type":112},{"start":30380,"end":5947,"type":112},245,{"start":21003,"end":30382,"type":112},386,{"type":23,"text":30384,"spans":30385},"The Center also sponsored courses, concerts, and symposia featuring both Argentine and international speakers and performers and published dozens of volumes on topics related to its artists, exhibitions, and theoretical interests. These included key members of the Argentine avant-garde such as Víctor Grippo, Jacques Bedel, Luis Fernando Benedit, Alfredo Portillos, and Clorindo Testa; and international artists like Sol LeWitt, Joseph Beuys, Lawrence Weiner, and Joseph Kosuth.",[],"text$04235b0f-e06e-4bb9-a23a-a6086916a80a",{"variation":101,"version":102,"items":30388,"primary":30390,"id":30408,"slice_type":522,"slice_label":7},[30389],{},{"text":30391},[30392,30396,30399],{"type":23,"text":30393,"spans":30394},"About the International Center for the Arts of The Americas (ICAA)",[30395],{"start":156,"end":4850,"type":407},{"type":23,"text":30397,"spans":30398},"In 2001, the Museum of Fine Arts, Houston (MFAH), established the Latin American Art Department and its research arm, the International Center for the Arts of the Americas (ICAA). Since its founding, the mission of the ICAA has been to collect, exhibit, research, and educate audiences about the diverse artistic production of Latin American and Latinx communities, including artists from Mexico, Central and South America, the Caribbean, and artists of Latin American descent living and working in the United States. By establishing the center, the museum sought to bring about a long-term transformation in the appreciation and understanding of Latin American and Latinx visual arts in the United States and abroad. ",[],{"type":23,"text":30400,"spans":30401},"The ICAA organizes research-based exhibitions, maintains a dynamic publications program, and develops educational projects that complement the MFAH’s renowned collection of Latin American and Latino art. The ICAA has organized international conferences and symposia and produced widely acclaimed exhibitions, such as Inverted Utopias: Avant-Garde Art in Latin America (2004), Hélio Oiticica: The Body of Color (2006), Carlos Cruz-Diez: Color in Space and Time (2011), and Contesting Modernity: Informalism in Venezuela, 1955–1975 (2018–19), among others.",[30402,30403,30404,30406],{"start":12012,"end":6978,"type":112},{"start":27779,"end":409,"type":112},{"start":30405,"end":11405,"type":112},418,{"start":30407,"end":13299,"type":112},472,"text$9aa291b4-60af-4d42-8eb3-a0254a173c63",{"variation":101,"version":102,"items":30410,"primary":30412,"id":30424,"slice_type":522,"slice_label":7},[30411],{},{"text":30413},[30414,30418,30421],{"type":23,"text":30415,"spans":30416},"About The Documents Project",[30417],{"start":156,"end":402,"type":407},{"type":23,"text":30419,"spans":30420},"First launched in 2002, Documents of 20th-Century Latin American and Latino Art: A Digital Archive and Publications Project (now Documents of Latin American and Latino Art) is an ICAA initiative dedicated to the recovery and publication of primary source materials and critical texts related to Latin American and Latinx art. The initiative addresses the endemic lag in access to documentation in the fields by digitizing writings by key artists, leaders of artistic movements, critics, and curators.\n",[],{"type":23,"text":30422,"spans":30423},"The Documents Project was one of the earliest digital humanities initiatives in the fields of Latin American and Latino/Latinx art. Cutting across national and cultural boundaries, the Digital Archive and accompanying publications provide an intellectual foundation for the exhibition, collection, and interpretation of art produced along this cultural axis. This Digital Archive provides global access to archival materials while simultaneously connecting geographically dispersed scholars and other producers of knowledge. The Documents Project purposefully does not collect archives: it is primarily an access project to ensure that physical archives continue to reside in their local communities and home institutions.",[],"text$8af2a578-5e91-4a41-af85-ea88feec77f4","The ICAA and ISLAA announce the launch of the CAYC Files: the first digital platform for the comprehensive study of the Centro de Arte y Comunicación (CAYC).",{"dimensions":30427,"alt":7,"copyright":7,"url":30428,"id":30324,"edit":30429},{"width":246,"height":247},"https://images.prismic.io/islaa/0531eaef-aa66-4c9e-8eed-a2406c203271_cayc-files-hero.jpeg?auto=compress,format&rect=136,0,1128,592&w=2400&h=1260",{"x":30430,"y":156,"zoom":30431,"background":915},-290,2.1283783783783785,{"dimensions":30433,"alt":30322,"copyright":7,"url":30323,"id":30324,"edit":30434},{"width":12723,"height":6430},{"x":156,"y":156,"zoom":172,"background":915},[30436],{"type":23,"text":30425,"spans":30437},[],[],[],{"id":30441,"uid":30442,"url":7,"type":6292,"href":30443,"tags":30444,"first_publication_date":30445,"last_publication_date":30446,"slugs":30447,"linked_documents":30449,"lang":17,"alternate_languages":30450,"data":30451},"ZRZbbhEAACUAfdo3","call-for-papers-conference-on-latin-american-artists","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZbbhEAACUAfdo3%22%29+%5D%5D",[11],"2023-09-29T05:07:31+0000","2024-03-14T13:59:15+0000",[30448],"call-for-papers-conference-on-latin-american-artists-in-new-york-1965-1975",[],[],{"title":30452,"series":30453,"hero_image":30456,"hero_image_caption":30462,"location":30463,"date":30464,"end_date":7,"institutions":30465,"slices":30470,"meta_description":7,"meta_image":30591,"meta_title":7,"preview_image":30592,"preview_description":30595,"related_content":30600,"related_products":30601},"Call for Papers: Conference on Latin American Artists in New York, 1965-1975",[30454],{"series":30455},{"link_type":30},{"dimensions":30457,"alt":30458,"copyright":7,"url":30459,"id":30460,"edit":30461},{"width":15411,"height":15411},"Yellow poster with a centered, black and white image of a triangle drawn on three hands by Liliana Porter","https://images.prismic.io/islaa/b2ecabd7-4234-4203-9869-4ad9066b91d7_CFP.jpg?auto=compress,format","ZRZbKxEAACUAfdnZ",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2021-12-20",[30466],{"institution":30467},{"id":26560,"type":327,"tags":30468,"lang":17,"slug":24539,"first_publication_date":26562,"last_publication_date":26563,"uid":24539,"link_type":30,"key":30469,"isBroken":47},[],"4bf3f923-8389-4298-8362-afa511c25fd3",[30471,30487,30571],{"variation":101,"version":102,"items":30472,"primary":30474,"id":30486,"slice_type":522,"slice_label":7},[30473],{},{"text":30475},[30476,30480,30483],{"type":23,"text":30477,"spans":30478},"ISLAA is delighted to co-organize, with the Americas Society, a conference to be held in connection with the two-part exhibition This Must Be the Place: Latin American Artists in New York, 1965–1975, currently on view at Americas Society.",[30479],{"start":11286,"end":7133,"type":112},{"type":23,"text":30481,"spans":30482},"The conference will be held on March 24–25, 2022. The event will have a hybrid format, with speakers participating remotely or in person, pending public health guidelines for COVID-19. The event will be livestreamed online.",[],{"type":23,"text":30484,"spans":30485},"To apply, please submit an abstract of up to 300 words and CV to vapublicprograms@as-coa.org by Monday, December 20 with \"Conference TMBTP\" as the email subject. Abstracts will be accepted in English, Spanish, and Portuguese.",[],"text$a54a9a8d-7062-4c6d-a3c4-20b7bba6d95a",{"variation":101,"version":102,"items":30488,"primary":30490,"id":30570,"slice_type":522,"slice_label":7},[30489],{},{"text":30491},[30492,30496,30499,30502,30505,30508,30511,30514,30517,30520,30523,30526,30529,30532,30538,30541,30543,30545,30547,30549,30551,30553,30555,30557,30559,30561,30563,30565],{"type":23,"text":30493,"spans":30494},"About the Conference",[30495],{"start":156,"end":921,"type":407},{"type":23,"text":30497,"spans":30498},"The conference will bring together interdisciplinary scholarship addressing issues this exhibition raises. Possible themes may include, but are not limited to:",[],{"type":23,"text":30500,"spans":30501},"Solidarity initiatives between artists living in New York and in Latin America",[],{"type":23,"text":30503,"spans":30504},"Connections and spaces organized by these artists in New York to create and disseminate works",[],{"type":23,"text":30506,"spans":30507},"Friendship, parties, sense of community and belonging",[],{"type":23,"text":30509,"spans":30510},"Different notions of Latinidad in the 1960s and 1970s",[],{"type":23,"text":30512,"spans":30513},"Latinx and Latin American artists and art institutions and cultural spaces",[],{"type":23,"text":30515,"spans":30516},"Latinx and Latin American art spaces and rezoning laws, urbanization projects, gentrification, and real estate development in New York",[],{"type":23,"text":30518,"spans":30519},"Artistic interventions in the public space",[],{"type":23,"text":30521,"spans":30522},"Artistic and political engagement with the city, including political activism, street protests, and the building of a sense of community around issues of nationality, race, and gender",[],{"type":23,"text":30524,"spans":30525},"Nostalgia and saudade",[],{"type":23,"text":30527,"spans":30528},"Migration and exile",[],{"type":23,"text":30530,"spans":30531},"Scholars in all levels of their careers are invited to apply, including current graduate students. Abstracts from disciplines outside art history—but grounded on visual culture—are encouraged. Presentations will be limited to 15 minutes, with additional time for discussion. Speakers will receive a participation fee.",[],{"type":23,"text":30533,"spans":30534},"To apply, please submit an abstract of up to 300 words and CV to vapublicprograms@as-coa.org by Monday, December 6 with \"Conference TMBTP\" in the subject line. Abstracts will be accepted in English, Spanish, and Portuguese. Applicants will be notified of their acceptance by Monday, January 10, 2022. In your application, please indicate your current institutional affiliation and where you would be speaking from.\n",[30535],{"start":1906,"end":436,"type":630,"data":30536},{"link_type":73,"url":30537},"mailto:vapublicprograms@as-coa.org?subject=Conference%20TMBTP",{"type":23,"text":30539,"spans":30540},"ABOUT THE CONFERENCE",[],{"type":23,"text":30497,"spans":30542},[],{"type":23,"text":30500,"spans":30544},[],{"type":23,"text":30503,"spans":30546},[],{"type":23,"text":30506,"spans":30548},[],{"type":23,"text":30509,"spans":30550},[],{"type":23,"text":30512,"spans":30552},[],{"type":23,"text":30515,"spans":30554},[],{"type":23,"text":30518,"spans":30556},[],{"type":23,"text":30521,"spans":30558},[],{"type":23,"text":30524,"spans":30560},[],{"type":23,"text":30527,"spans":30562},[],{"type":23,"text":30530,"spans":30564},[],{"type":23,"text":30566,"spans":30567},"To apply, please submit an abstract of up to 300 words and CV to vapublicprograms@as-coa.org by Monday, December 6 with \"Conference TMBTP\" in the subject line. Abstracts will be accepted in English, Spanish, and Portuguese. Applicants will be notified of their acceptance by Monday, January 10, 2022. In your application, please indicate your current institutional affiliation and where you would be speaking from.",[30568],{"start":1906,"end":436,"type":630,"data":30569},{"link_type":73,"url":30537},"text$1029e681-3e55-4134-99f6-430d4c11f4c0",{"variation":101,"version":102,"items":30572,"primary":30574,"id":30590,"slice_type":522,"slice_label":7},[30573],{},{"text":30575},[30576,30580,30584,30587],{"type":23,"text":30577,"spans":30578},"About the Exhibition",[30579],{"start":156,"end":921,"type":407},{"type":23,"text":30581,"spans":30582},"This Must Be the Place: Latin American Artists in New York, 1965–1975 is a two-part group exhibition at Americas Society exploring the work of a generation of migrants who created and exhibited in New York City between 1965 and 1975. The production of these artists—some of whom showed their work at the Americas Society for the first time during the 1960s and 1970s—explores migration, identity, politics, exile, and nostalgia. Additionally, the exhibition highlights the important contributions and solidarity initiatives of groups and collectives. Featuring installation, photography, video works, painting, and archival material, the exhibition brings together a generation that actively participated in experimental artistic movements pushing forward their own languages and ideas.",[30583],{"start":156,"end":136,"type":112},{"type":23,"text":30585,"spans":30586},"By the late 1960s, New York had supplanted Paris as the center of the international art world. Seeking opportunities or escaping difficult realities in their home countries, artists from across the Americas made a home in the city, some of them temporarily, others for good. Embracing experimental practices such as Happenings, minimalism, conceptualism, performance, and video art, they contributed artworks centering on issues of community, identity, and belonging, and offered a unique perspective to the neo-avant-garde art scene in New York.",[],{"type":23,"text":30588,"spans":30589},"It was in New York that many of these artists recognized themselves as Latin Americans, something they did not necessarily realize back home. By being in contact with migrants from other parts of the continent, they forged a new sense of self as Latin Americans that resisted the stereotypes imposed on them by American culture. Located in between spaces of belonging and occupying a unique political subjectivity, these artists made work in the interstices of traditional cultural categories and advanced ideas about identity that would not be discussed until the arrival of multiculturalism in the 1980s.",[],"text$5bd2dd49-e2b5-4f16-9c5a-d1dd3fd084b5",{},{"dimensions":30593,"alt":30458,"copyright":7,"url":30459,"id":30460,"edit":30594},{"width":15411,"height":15411},{"x":156,"y":156,"zoom":172,"background":915},[30596],{"type":23,"text":30597,"spans":30598},"ISLAA is delighted to co-organize, with the Americas Society, a conference to be held in connection with the two-part exhibitionThis Must Be the Place: Latin American Artists in New York, 1965–1975, currently on view at Americas Society.",[30599],{"start":3865,"end":12219,"type":112},[],[],{"id":30603,"uid":30604,"url":7,"type":6292,"href":30605,"tags":30606,"first_publication_date":30607,"last_publication_date":30608,"slugs":30609,"linked_documents":30610,"lang":17,"alternate_languages":30611,"data":30614},"ZRZdeREAACEAfd1H","islaa-acquires-portion-of-felipe-ehrenberg-archive","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZdeREAACEAfd1H%22%29+%5D%5D",[11],"2023-09-29T05:16:14+0000","2024-03-14T13:42:08+0000",[30604],[],[30612],{"id":30613,"type":6292,"lang":12515,"uid":30604},"ZRZdlBEAACMAfd10",{"title":30615,"series":30616,"hero_image":30619,"hero_image_caption":30627,"location":30632,"date":30636,"end_date":7,"institutions":30637,"slices":30640,"meta_description":7,"meta_image":30675,"meta_title":7,"preview_image":30676,"preview_description":30679,"related_content":30683,"related_products":30684},"ISLAA Acquires Portion of Felipe Ehrenberg Archive",[30617],{"series":30618},{"link_type":30},{"dimensions":30620,"alt":30623,"copyright":7,"url":30624,"id":30625,"edit":30626},{"width":30621,"height":30622},1231,926,"A collage showing fragments of news clippings and photos related to crime scenes, overlaid with stenciled text.","https://images.prismic.io/islaa/f40462c5-4bb6-4124-8010-a4ed848a213d_Mask-Group-10.png?auto=compress,format","ZRZdShEAACUAfd0C",{"x":156,"y":156,"zoom":172,"background":173},[30628],{"type":23,"text":30629,"spans":30630},"Felipe Ehrenberg,Testamento, 1968–2017. 34 collages on paper, various dimensions. © the artist. Courtesy waldengallery.\n",[30631],{"start":2680,"end":402,"type":112},{"id":709,"type":38,"tags":30633,"lang":17,"slug":40,"first_publication_date":711,"last_publication_date":712,"uid":713,"data":30634,"link_type":30,"key":30635,"isBroken":47},[],{"name":45},"c7e3494e-5a7f-41a0-98cf-5a741705385d","2022-05-14",[30638],{"institution":30639},{"link_type":30},[30641],{"variation":101,"version":102,"items":30642,"primary":30644,"id":30674,"slice_type":522,"slice_label":7},[30643],{},{"text":30645},[30646,30653,30656,30659,30662,30671],{"type":23,"text":30647,"spans":30648},"On the occasion of the upcoming exhibition Felipe Ehrenberg: Testamento, the Institute for Studies on Latin American Art (ISLAA) is delighted to announce that the artist’s estate has granted us the immense honor of repositing a portion of the Ehrenberg archive. This significant addition to our library and archive of Latin American art and artists would not be possible without the collaboration and enthusiasm of Lourdes Hernández Fuentes, the widow of Felipe Ehrenberg. ISLAA is profoundly grateful to preserve this segment of the archive, which we will handle with utmost priority and care. Major portions of Felipe Ehrenberg’s papers appear in the special collections of Stanford University Libraries in California; the Museo Universitario de Arte Contemporaneo (MUAC) at the Universidad Nacional Autónoma de México (UNAM) in Mexico City; in addition to selected material at Tate Archive, London.",[30649,30650],{"start":2683,"end":7145,"type":112},{"start":2683,"end":7145,"type":630,"data":30651},{"link_type":73,"url":30652},"https://www.islaa.org/felipe-ehrenberg-testamento",{"type":23,"text":30654,"spans":30655},"Felipe meant so much, to so many, both in his native soil of Mexico and across the world, where he shaped the discourse and feeling of contemporary art on multiple continents. ISLAA understands and honors the responsibility of helping to share his inimitable legacy of neology, humor, art for all, and experimentation. ",[],{"type":23,"text":30657,"spans":30658},"ISLAA’s study collection exists so that scholarly communities and the broader public can engage with the rich and varied legacies of Latin American art, movements, and visual cultures. Working to make our collection accessible is core to our mission and intellectual commitments. To that end, we collaborate with research universities and museum libraries to direct scholarly attention to our special collections and inform critical research. Doing so increases access to the knowledge and richness of these materials beyond the bounds of our reading room. ",[],{"type":23,"text":30660,"spans":30661},"ISLAA is currently preparing to take on the ambitious and exciting project of processing an abundant volume of Ehrenberg’s materials. We are devoting resources to sorting and digitizing selected collections for unrestricted public enjoyment and study. We anticipate this work will take at least one year. Our goal is that by facilitating access to this segment of the Ehrenberg archive, ISLAA will advance vital scholarship on the artist and his endlessly inquisitive, multidisciplinary, and politically urgent practice.",[],{"type":23,"text":30663,"spans":30664},"Our respect for Felipe’s legacy is the thread that connects our archival activities with our exhibition program. Testamento is a retrospective and reflective assemblage of documents, photographs, writings, and drawings compiled at the very end of the artist’s decades-long career—a coda to his prodigious practice. Where the archives require intensive processing and stabilization before their contents can be made better known, the exhibition—curated by Olivia Casa—is open to the public by appointment and includes an online viewing portal that our international community can explore. Testamento is itself a mini-archive, a collection of the papers that comprise a life’s work. Ephemera are not inert things that pass through our lives; rather, our lives pass through the ephemera that we ultimately leave behind. This concept of accessing past and present courses through Testamento and informs ISLAA’s project of stewarding the Felipe Ehrenberg archive.",[30665,30666,30668],{"start":7959,"end":9701,"type":112},{"start":418,"end":30667,"type":112},598,{"start":30669,"end":30670,"type":112},876,886,{"type":23,"text":30672,"spans":30673},"On the fourth anniversary of Felipe’s passing, we take this moment to reflect on the joyfulness, enthusiasm, and light of this monumental figure.",[],"text$1e8a24f3-ad10-4ab2-91b5-62db56363f08",{},{"dimensions":30677,"alt":30623,"copyright":7,"url":30624,"id":30625,"edit":30678},{"width":30621,"height":30622},{"x":156,"y":156,"zoom":172,"background":173},[30680],{"type":23,"text":30681,"spans":30682},"ISLAA has acquired a portion of Felipe Ehrenberg archive from the artist's estate, a momentous addition to our library and archive.",[],[],[],{"id":30686,"uid":30687,"url":7,"type":6292,"href":30688,"tags":30689,"first_publication_date":30690,"last_publication_date":30691,"slugs":30692,"linked_documents":30695,"lang":17,"alternate_languages":30696,"data":30697},"ZRRSxBQAACgAsJMm","cfp-rg-2023-spring-2","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRRSxBQAACgAsJMm%22%29+%5D%5D",[11],"2023-09-27T16:07:07+0000","2024-03-14T13:49:43+0000",[30693,30694],"islaa-research-grant-spring-2023-grantees-announcement","selected-grantees",[],[],{"title":30698,"series":30699,"hero_image":30704,"hero_image_caption":30709,"location":30710,"date":30711,"end_date":7,"institutions":30712,"slices":30715,"meta_description":30770,"meta_image":30771,"meta_title":30698,"preview_image":30774,"preview_description":30777,"related_content":30780,"related_products":30781},"ISLAA Research Grant Spring 2023: Grantees Announcement",[30700],{"series":30701},{"id":22293,"type":1366,"tags":30702,"lang":17,"slug":22295,"first_publication_date":22296,"last_publication_date":22296,"uid":22295,"link_type":30,"key":30703,"isBroken":47},[],"4c74ec14-0800-4336-988b-0c3b7ecc517c",{"dimensions":30705,"alt":30706,"copyright":7,"url":30707,"id":23513,"edit":30708},{"width":12723,"height":1882},"Color photograph of the archive and library at the ISLAA space","https://images.prismic.io/islaa/3ed87dce-5ae5-4c92-afbf-bef4ba37200c_cfp-rg-2023-spring-2-hero.jpeg?auto=compress,format",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2023-08-07",[30713],{"institution":30714},{"link_type":30},[30716,30745],{"variation":101,"version":102,"items":30717,"primary":30719,"id":30744,"slice_type":522,"slice_label":7},[30718],{},{"text":30720},[30721,30725,30728,30732,30736,30740],{"type":23,"text":30722,"spans":30723},"Selected Grantees",[30724],{"start":156,"end":2680,"type":407},{"type":23,"text":30726,"spans":30727},"ISLAA is delighted to announce the four grantees of the Spring 2023 ISLAA Research Grant. The grantees will develop research in the United States, Bolivia, Venezuela, Nicaragua, Guyana, and Trinidad and Tobago. Congratulations!",[],{"type":23,"text":30729,"spans":30730},"Yvette Ramírez, PhD student, University of Michigan\nSuma Para: Quechua Diasporic Information Practices in Ceremonial Agricultural Dance",[30731],{"start":3605,"end":4780,"type":112},{"type":23,"text":30733,"spans":30734},"Elvira Blanco, PhD candidate, Columbia University\nAmazonian Imaginaries of the Common: The Art of Sheroanawë Hakihiiwë and Relational Ecological Thought in Venezuela",[30735],{"start":180,"end":10391,"type":112},{"type":23,"text":30737,"spans":30738},"Lesdi Goussen Robleto, PhD candidate, University of California, Berkeley\nArchival Ephemera in the Afterlife of ArteFacto",[30739],{"start":4347,"end":10003,"type":112},{"type":23,"text":30741,"spans":30742},"Bianca Mońa, PhD student, University of the West Indies at Cave Hill, Barbados\nWhere is the Magic?: Black Girl Magic and Contemporary Black Caribbean Visual Arts from 2000–2020",[30743],{"start":110,"end":9171,"type":112},"text$c330fae2-d7af-4643-b9c2-3636c7a876df",{"variation":101,"version":102,"items":30746,"primary":30748,"id":30769,"slice_type":522,"slice_label":7},[30747],{},{"text":30749},[30750,30754,30757,30760,30766],{"type":23,"text":30751,"spans":30752},"ISLAA Research Grant Spring 2023",[30753],{"start":156,"end":629,"type":407},{"type":23,"text":30755,"spans":30756},"The ISLAA Research Grant aims to expand access to research funding by supporting the incredible talent of emerging scholars. Research may be conducted anywhere in the world and must be directed toward MA or PhD dissertations, peer-reviewed journal articles, and conference presentations. Research activities may include consulting resources at libraries, museums, and archives; interviewing artists, curators, and scholars; and arranging studio visits.",[],{"type":23,"text":30758,"spans":30759},"The Research Grant will award grantees up to $2,500 USD. Grantees will be chosen by a selection committee of scholars and art professionals.",[],{"type":23,"text":30761,"spans":30762},"The application materials include but are not limited to the following: research proposal, calendar, and itinerary. Find out more about grant conditions and submission requirements here.\n",[30763],{"start":11396,"end":9173,"type":630,"data":30764},{"link_type":73,"url":30765,"target":633},"https://app.smarterselect.com/programs/89039",{"type":23,"text":30767,"spans":30768},"If you have any questions about the ISLAA Research Grant, please email Blanca Serrano Ortiz de Solórzano: blanca.serranoortiz@islaa.org.",[],"text$1c260ae7-a306-459c-984d-632fc4d32551","Grantees announced! The grantees were chosen by a selection committee to further the study of Latin American, Caribbean, and Latinx art and visual culture.",{"dimensions":30772,"alt":7,"copyright":7,"url":23512,"id":23513,"edit":30773},{"width":246,"height":247},{"x":156,"y":23515,"zoom":23516,"background":915},{"dimensions":30775,"alt":30706,"copyright":7,"url":30707,"id":23513,"edit":30776},{"width":12723,"height":1882},{"x":156,"y":156,"zoom":172,"background":915},[30778],{"type":23,"text":30770,"spans":30779},[],[],[],{"id":30783,"uid":30784,"url":7,"type":6292,"href":30785,"tags":30786,"first_publication_date":30787,"last_publication_date":30788,"slugs":30789,"linked_documents":30790,"lang":17,"alternate_languages":30791,"data":30792},"ZRZX4xEAACMAfdU7","announcing-the-inaugural-islaa-research-grant","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZX4xEAACMAfdU7%22%29+%5D%5D",[11],"2023-09-29T04:51:49+0000","2024-03-14T13:54:55+0000",[30784],[],[],{"title":30793,"series":30794,"hero_image":30799,"hero_image_caption":30806,"location":30807,"date":30808,"end_date":30809,"institutions":30810,"slices":30813,"meta_description":7,"meta_image":30856,"meta_title":7,"preview_image":30857,"preview_description":30860,"related_content":30864,"related_products":30865},"Announcing the Inaugural ISLAA Research Grant",[30795],{"series":30796},{"id":22293,"type":1366,"tags":30797,"lang":17,"slug":22295,"first_publication_date":22296,"last_publication_date":22296,"uid":22295,"link_type":30,"key":30798,"isBroken":47},[],"4298b28a-e4cf-49c7-8353-5217a60f3869",{"dimensions":30800,"alt":30802,"copyright":7,"url":30803,"id":30804,"edit":30805},{"width":30801,"height":25642},2560,"Monotone image of interior of library, with wall shelving with rows of book folders, and a table with large graphic artworks.","https://images.prismic.io/islaa/ce4d5a22-5ee8-4fdb-bdda-7f8a7a0b3d1f_ResearchGrantAsset.jpg?auto=compress,format","ZRZXohEAACEAfdTc",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2022-03-02","2022-04-03",[30811],{"institution":30812},{"link_type":30},[30814],{"variation":101,"version":102,"items":30815,"primary":30817,"id":30855,"slice_type":522,"slice_label":7},[30816],{},{"text":30818},[30819,30822,30825,30828,30831,30837,30840,30842,30846,30849,30852],{"type":23,"text":30820,"spans":30821},"The Institute for Studies on Latin American Art (ISLAA) announces the inaugural ISLAA Research Grant and call for proposals. The ISLAA Research Grant is an opportunity for MA and PhD students currently enrolled in US-based graduate university programs to conduct research on modern and contemporary art and visual culture from Latin America, the Caribbean, and the diaspora, including Latinx studies. The inaugural Research Grant will award three grantees up to 2,500 USD. Grantees will be chosen by a selection committee of scholars and arts professionals specially appointed for this occasion.",[],{"type":23,"text":30823,"spans":30824},"All graduate students that demonstrate a compelling need to develop field research are welcome to apply. Research activities may include consulting primary and secondary resources at archives, museums, and libraries, interviewing artists, curators, and scholars, and arranging studio visits. Research may be conducted globally and must be directed toward MA or PhD dissertations, peer-reviewed journal articles, and/or professional conference presentations.",[],{"type":23,"text":30826,"spans":30827},"Application materials include but are not limited to the following documents. Please start an application in order to review all submission requirements:\n+Research proposal (1,000–1,500 word limit, PDF file only)\n+Calendar (one page, PDF file only)\n+Itinerary (one page, PDF file only)\n+Budget (one page, PDF file only)",[],{"type":23,"text":30829,"spans":30830},"Submission deadline: Sunday April 3, 2022. 11:59 EDT",[],{"type":23,"text":30832,"spans":30833},"For grant conditions and application submission, visit https://smr.to/p80321",[30834],{"start":406,"end":2505,"type":630,"data":30835},{"link_type":73,"url":30836},"https://smr.to/p80321",{"type":23,"text":30838,"spans":30839},"If you have any questions about the ISLAA Research Grant, please email blanca.serranoortiz@islaa.org",[],{"type":23,"text":138,"spans":30841},[],{"type":23,"text":30843,"spans":30844},"The recipients of the inaugural ISLAA Research Grant are:",[30845],{"start":156,"end":6419,"type":407},{"type":23,"text":30847,"spans":30848},"Javiera Irribarren, PhD candidate, Columbia University",[],{"type":23,"text":30850,"spans":30851},"Sophia Kitlinski, PhD candidate, Yale University",[],{"type":23,"text":30853,"spans":30854},"Horacio Ramos, PhD candidate, The Graduate Center CUNY",[],"text$774081bb-e1d8-47a7-9c48-b769ab0d4122",{},{"dimensions":30858,"alt":30802,"copyright":7,"url":30803,"id":30804,"edit":30859},{"width":30801,"height":25642},{"x":156,"y":156,"zoom":172,"background":915},[30861],{"type":23,"text":30862,"spans":30863},"Three grantees will be chosen by a selection committee to further the study of Latin American, Caribbean, and Latinx art and visual culture.",[],[],[],{"id":30867,"uid":30868,"url":7,"type":6292,"href":30869,"tags":30870,"first_publication_date":30871,"last_publication_date":30872,"slugs":30873,"linked_documents":30875,"lang":17,"alternate_languages":30876,"data":30877},"ZRZcOREAACMAfdtl","announcing-islaa-loans-and-co-publication-this-must","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZcOREAACMAfdtl%22%29+%5D%5D",[11],"2023-09-29T05:10:20+0000","2024-03-14T13:59:53+0000",[30874],"announcing-islaa-loans-and-co-publication-this-must-be-the-place-latin-american-artists-in-new-york-19651975",[],[],{"title":30878,"series":30879,"hero_image":30882,"hero_image_caption":30888,"location":30893,"date":30894,"end_date":30636,"institutions":30895,"slices":30900,"meta_description":7,"meta_image":30936,"meta_title":7,"preview_image":30937,"preview_description":30940,"related_content":30944,"related_products":30945},"Announcing ISLAA Loans and Co-Publication: “This Must Be the Place: Latin American Artists in New York, 1965–1975”",[30880],{"series":30881},{"link_type":30},{"dimensions":30883,"alt":30884,"copyright":7,"url":30885,"id":30886,"edit":30887},{"width":167,"height":4840},"Installation view centering \"Wrinkle Environment\" by Liliana Porter, a work in which sheets of paper are torn from the wall by gallery goers and crumpled on the floor.","https://images.prismic.io/islaa/fa68f0c4-2afc-4f94-b8ff-faebd4a3160d_gallery-2-Downey-Porter-Minujin.jpg?auto=compress,format","ZRZb9xEAACUAfdsE",{"x":156,"y":156,"zoom":172,"background":915},[30889],{"type":23,"text":30890,"spans":30891},"Installation view ofThis Must Be the Place: Latin American Artists in New York, 1965–1975. © the artists. Courtesy Americas Society. Photo: Arturo Sanchez.",[30892],{"start":921,"end":7675,"type":112},{"link_type":30},"2021-09-22",[30896],{"institution":30897},{"id":26560,"type":327,"tags":30898,"lang":17,"slug":24539,"first_publication_date":26562,"last_publication_date":26563,"uid":24539,"link_type":30,"key":30899,"isBroken":47},[],"40b71ed2-77bb-4447-9e3f-ec5424d40f11",[30901],{"variation":101,"version":102,"items":30902,"primary":30904,"id":30935,"slice_type":522,"slice_label":7},[30903],{},{"text":30905},[30906,30910,30913,30916,30922,30928,30930],{"type":23,"text":30907,"spans":30908},"ISLAA is honored to loan works from our collection for the exhibition This Must Be the Place: Latin American Artists in New York, 1965–1975, curated by Aimé Iglesias Lukin at the Americas Society. ISLAA will also co-publish an accompanying book with Americas Society in January 2022, featuring oral histories and archival materials from artists and collectives in the exhibition. ",[30909],{"start":1501,"end":4469,"type":112},{"type":23,"text":30911,"spans":30912},"This two-part show rewrites the narrative of New York's downtown scene to acknowledge the formative role of Latin American and Latinx artists and collectives in generating conceptual art, performance art, activism, and more. ISLAA congratulates the exhibition organizers and artists on this groundbreaking endeavor. ",[],{"type":23,"text":30914,"spans":30915},"Part 1 of the exhibition is on view September –December 2021. Part 2 will run January–May 2022. Additional information about the publication will be released in late 2021. ",[],{"type":23,"text":30917,"spans":30918},"Exhibition Information",[30919],{"start":156,"end":2610,"type":630,"data":30920},{"link_type":73,"url":30921,"target":633},"https://www.as-coa.org/exhibitions/must-be-place-latin-american-artists-new-york-1965-1975",{"type":23,"text":30923,"spans":30924},"About the Publication",[30925],{"start":156,"end":179,"type":630,"data":30926},{"link_type":73,"url":30927,"target":633},"https://www.islaa.org/publications/this-must-be-the-place",{"type":23,"text":138,"spans":30929},[],{"type":23,"text":30931,"spans":30932},"RELATED PRESS\nNew York Times exhibition review by Holland Cotter",[30933],{"start":2640,"end":3256,"type":630,"data":30934},{"link_type":73,"url":3824,"target":633},"text$376986cc-fa12-4a89-9502-eab57b410a7a",{},{"dimensions":30938,"alt":30884,"copyright":7,"url":30885,"id":30886,"edit":30939},{"width":167,"height":4840},{"x":156,"y":156,"zoom":172,"background":915},[30941],{"type":23,"text":30942,"spans":30943},"The forthcoming oral history book, and its related exhibition, present urgent revisions to existing narratives of New York's art scene in the 1960s–70s.",[],[],[],{"id":6291,"uid":6297,"url":7,"type":6292,"href":30947,"tags":30948,"first_publication_date":6295,"last_publication_date":6296,"slugs":30949,"linked_documents":30951,"lang":17,"alternate_languages":30952,"data":30953},"https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRXMVREAACIAfPoI%22%29+%5D%5D",[11],[6294,30950],"mar-16opening-reception-for-nande-roga-the-feliciano-centurion-archival-collection",[],[],{"title":30954,"series":30955,"hero_image":30958,"hero_image_caption":30963,"location":30964,"date":30968,"end_date":7,"institutions":30969,"slices":30972,"meta_description":7,"meta_image":30995,"meta_title":7,"preview_image":30996,"preview_description":30999,"related_content":31004,"related_products":31005},"Opening Reception for \"Ñande Róga: The Feliciano Centurión Archival Collection\"",[30956],{"series":30957},{"link_type":30},{"dimensions":30959,"alt":7,"copyright":7,"url":30960,"id":30961,"edit":30962},{"width":260,"height":13234},"https://images.prismic.io/islaa/f73e614d-7873-434e-90b5-a170033f2fe9_Nande-Roga_Hero-Image-2.jpg?auto=compress,format","ZRXL4BEAACIAfPjQ",{"x":156,"y":156,"zoom":172,"background":915},[],{"id":709,"type":38,"tags":30965,"lang":17,"slug":40,"first_publication_date":711,"last_publication_date":712,"uid":713,"data":30966,"link_type":30,"key":30967,"isBroken":47},[],{"name":45},"495f176e-025b-4c1b-a666-a0a2d539a3ad","2023-01-10",[30970],{"institution":30971},{"link_type":30},[30973],{"variation":101,"version":102,"items":30974,"primary":30976,"id":30994,"slice_type":522,"slice_label":7},[30975],{},{"text":30977},[30978,30981,30985,30991],{"type":23,"text":30979,"spans":30980},"Opening Reception: Thursday, March 16, 5–8 PM",[],{"type":23,"text":30982,"spans":30983},"Please join us for a public, in-person reception to celebrate the opening of the exhibition Ñande Róga: The Feliciano Centurión Archival Collection at the Institute for Studies on Latin American Art (ISLAA).",[30984],{"start":436,"end":18025,"type":112},{"type":23,"text":30986,"spans":30987},"Guests are asked to register for timed entry using this sign-up sheet. Face coverings are recommended but not required while on site.",[30988],{"start":4701,"end":136,"type":630,"data":30989},{"link_type":73,"url":30990,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSeIxZesG3DOzMEiLcP35XtyLlcZz6pAnWD_iBDgiimhPCWkfA/viewform",{"type":23,"text":30992,"spans":30993},"Please email islaa.exhibitions@islaa.org with any questions about this event.",[],"text$e5ca7744-1eb2-4066-955a-3c796ed918f6",{},{"dimensions":30997,"alt":7,"copyright":7,"url":30960,"id":30961,"edit":30998},{"width":260,"height":13234},{"x":156,"y":156,"zoom":172,"background":915},[31000],{"type":23,"text":31001,"spans":31002},"Join us for the opening ofÑande Róga: The Feliciano Centurión Archival Collectionat ISLAA on March 16.",[31003],{"start":430,"end":5124,"type":112},[],[],{"id":31007,"uid":31008,"url":7,"type":6292,"href":31009,"tags":31010,"first_publication_date":31011,"last_publication_date":31012,"slugs":31013,"linked_documents":31014,"lang":17,"alternate_languages":31015,"data":31016},"ZRXHtBEAACMAfPGZ","call-for-proposals-islaa-research-grant-fall-2023","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRXHtBEAACMAfPGZ%22%29+%5D%5D",[11],"2023-09-28T18:36:40+0000","2024-03-13T21:36:10+0000",[31008],[],[],{"title":31017,"series":31018,"hero_image":31023,"hero_image_caption":31033,"location":31034,"date":31035,"end_date":31036,"institutions":31037,"slices":31040,"meta_description":7,"meta_image":31069,"meta_title":7,"preview_image":31070,"preview_description":31073,"related_content":31077,"related_products":31078},"Call for Proposals ISLAA Research Grant Fall 2023",[31019],{"series":31020},{"id":22293,"type":1366,"tags":31021,"lang":17,"slug":22295,"first_publication_date":22296,"last_publication_date":22296,"uid":22295,"link_type":30,"key":31022,"isBroken":47},[],"b9087f40-99a1-4bad-8d16-ec0ad7009d5e",{"dimensions":31024,"alt":30706,"copyright":7,"url":31025,"id":31026,"edit":31027,"Square":31028},{"width":2552,"height":25642},"https://images.prismic.io/islaa/ee5be229-29e1-4b70-93c9-64b5adad087f_ISLAA-research-grant.jpg?auto=compress,format","ZRXHdxEAACEAfPEi",{"x":156,"y":156,"zoom":172,"background":915},{"dimensions":31029,"alt":30706,"copyright":7,"url":31030,"id":31026,"edit":31031},{"width":272,"height":272},"https://images.prismic.io/islaa/ee5be229-29e1-4b70-93c9-64b5adad087f_ISLAA-research-grant.jpg?auto=compress,format&rect=0,374,960,960&w=300&h=300",{"x":156,"y":31032,"zoom":3089,"background":915},-116,[],{"link_type":30},"2023-09-15","2023-10-15",[31038],{"institution":31039},{"link_type":30},[31041],{"variation":101,"version":102,"items":31042,"primary":31044,"id":31068,"slice_type":522,"slice_label":7},[31043],{},{"text":31045},[31046,31050,31053,31056,31062,31065],{"type":23,"text":31047,"spans":31048},"Call for proposals: ISLAA Research Grant Fall 2023\nSubmission period: September 15–October 15, 2023\n",[31049],{"start":2517,"end":7954,"type":112},{"type":23,"text":31051,"spans":31052},"ISLAA is delighted to announce the call for proposals for the ISLAA Research Grant Fall 2023. Grantees are offered the opportunity to conduct novel investigations into themes, geographies, and chronologies of modern and contemporary art and visual culture from Latin America, the Caribbean, and the diaspora. During our open call for proposals, we invite MA and PhD students enrolled in graduate university programs in the US and abroad to apply.",[],{"type":23,"text":31054,"spans":31055},"The ISLAA Research Grant aims to expand access to research funding by supporting emerging scholars. Research may be conducted anywhere in the world and must be directed toward the completion of master’s theses or doctoral dissertations, peer-reviewed journal articles, or conference presentations. Research activities may include consulting resources at libraries, museums, and archives; interviewing artists, curators, and scholars; arranging studio visits; and/or conducting field research. The Research Grant will award grantees an award of up to $2,500 USD. Grantees will be chosen by a selection committee of scholars and art professionals.",[],{"type":23,"text":31057,"spans":31058},"Application materials include (but are not limited to) a research proposal, calendar, and itinerary. Find out more about grant conditions and submission requirements here.\n",[31059],{"start":9695,"end":4478,"type":630,"data":31060},{"link_type":73,"url":31061,"target":633},"https://smr.to/p91470",{"type":23,"text":31063,"spans":31064},"For questions about the ISLAA Research Grant, please email Blanca Serrano Ortiz de Solórzano: blanca.serranoortiz@islaa.org.\n",[],{"type":23,"text":31066,"spans":31067},"Submission deadline: October 15, 2023, 11:59 EDT",[],"text$f3f47613-9863-482d-873e-0836e44beeba",{},{"dimensions":31071,"alt":30706,"copyright":7,"url":31025,"id":31026,"edit":31072},{"width":2552,"height":25642},{"x":156,"y":156,"zoom":172,"background":915},[31074],{"type":23,"text":31075,"spans":31076},"The grantees will be chosen by a selection committee to further the study of Latin American, Caribbean, and Latinx art and visual culture.",[],[],[],{"id":31080,"uid":31081,"url":7,"type":6292,"href":31082,"tags":31083,"first_publication_date":31084,"last_publication_date":31085,"slugs":31086,"linked_documents":31088,"lang":17,"alternate_languages":31089,"data":31090},"ZRZZ9hEAACIAfdgc","call-for-papers-sixth-annual-symposium-of-latin-american","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRZZ9hEAACIAfdgc%22%29+%5D%5D",[11],"2023-09-29T05:03:57+0000","2024-03-13T21:36:24+0000",[31087],"call-for-papers-sixth-annual-symposium-of-latin-american-art",[],[],{"title":31091,"series":31092,"hero_image":31097,"hero_image_caption":31103,"location":31104,"date":31105,"end_date":7,"institutions":31106,"slices":31109,"meta_description":7,"meta_image":31214,"meta_title":7,"preview_image":31215,"preview_description":31218,"related_content":31222,"related_products":31223},"Call for Papers: Sixth Annual Symposium of Latin American Art",[31093],{"series":31094},{"id":14336,"type":1366,"tags":31095,"lang":17,"slug":14338,"first_publication_date":14339,"last_publication_date":14339,"uid":14338,"link_type":30,"key":31096,"isBroken":47},[],"9819dac2-6d49-47cd-964f-2c9a05f30275",{"dimensions":31098,"alt":31099,"copyright":7,"url":31100,"id":31101,"edit":31102},{"width":247,"height":247},"Red poster with a white dotted line surrounding white text","https://images.prismic.io/islaa/44238902-fa23-41e9-8c06-2831d622bbb0_CFP_2.jpg?auto=compress,format","ZRZaeREAACEAfdjb",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2022-01-14",[31107],{"institution":31108},{"link_type":30},[31110,31126],{"variation":101,"version":102,"items":31111,"primary":31124,"id":31125,"slice_type":10148,"slice_label":7},[31112,31116,31120],{"category":28625,"value":31113},{"id":10126,"type":327,"tags":31114,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":31115,"isBroken":47},[],"74733d85-b233-4a5c-bfba-ec157f79ccdf",{"category":28625,"value":31117},{"id":11223,"type":327,"tags":31118,"lang":17,"slug":11225,"first_publication_date":11226,"last_publication_date":11227,"uid":11228,"link_type":30,"key":31119,"isBroken":47},[],"8a7cd49c-ab44-4a4f-b677-3becf75b7d9e",{"category":28625,"value":31121},{"id":10234,"type":327,"tags":31122,"lang":17,"slug":10236,"first_publication_date":10237,"last_publication_date":10238,"uid":10239,"link_type":30,"key":31123,"isBroken":47},[],"384479fe-a717-41a1-be0e-4140de3ad4c8",{},"credits$091d2774-0230-4952-9074-47e58c53b367",{"variation":101,"version":102,"items":31127,"primary":31129,"id":31213,"slice_type":522,"slice_label":7},[31128],{},{"text":31130},[31131,31134,31137,31140,31143,31146,31153,31157,31160,31162,31165,31168,31170,31173,31176,31179,31182,31185,31188,31198,31205,31208],{"type":23,"text":31132,"spans":31133},"Symposium Dates: March 30–April 1, 2022",[],{"type":23,"text":31135,"spans":31136},"The Institute of Fine Arts at New York University, The Graduate Center at the City University of New York, Columbia University in the City of New York, and the Institute for Studies on Latin American Art (ISLAA) are pleased to announce the Sixth Annual Symposium of Latin American Art “Movement and Presence: The Visual Culture of the Americas.”",[],{"type":23,"text":31138,"spans":31139},"The Symposium will include keynote presentations by Dr. Denise Ferreira da Silva and Dr. Diana Taylor, and practice-based methodological workshops (details to be announced in January 2022).\n",[],{"type":23,"text":31141,"spans":31142},"ABOUT THE SYMPOSIUM",[],{"type":23,"text":31144,"spans":31145},"The Sixth Annual Symposium of Latin American Art invites proposals from artists, activists, graduate students, and emerging scholars considering movement in the study of the art and culture of the Americas. The Symposium posits movement and presence as a set of epistemological strategies to recalibrate how art scholarship contends with objects and artworks. By foregrounding movement, the Symposium invites considerations of embodied cultural practices and performance, as well as a critical re-reading of objects, artifacts, and archives.",[],{"type":23,"text":31147,"spans":31148},"“Latin America”—the idealized landscape, geospatial entity, and sociocultural construct—has been shaped and mythologized by, through, and against movement. The invention of America and, later, of Latin America, legitimized and enabled the dispossession of land and Indigenous lifeways—of Abya Yala and Turtle Island, for example—into the Euro-Christian imaginary and facilitated the colonial and imperial expansion of the West across the globe. These inventions enabled the mass movement of people, goods, images, and ideas through the processes of African and Indigenous enslavement, resource extraction, global capitalism, and the implementation of borders. Similarly, “latinidad,” a unifying identity-construct for Latin America’s diaspora in the U.S.—with its erasures of Black, Indigenous, and Asian lived experiences—is also predicated on this mobility: it is an identity which is forged through migration and the crossing of borders. However, Indigenous worldviews, migration, and networks of cross-cultural exchange are also forms of movement which predate and intersect with this very idea, offering modes of resistance to ongoing processes of coloniality. Movement is an intentional, embodied presence that invokes cross-temporal and cross-spatial histories, as well as futurities. Closely related to movement are the experiences of community, networks, continuity, and presence. As Diana Taylor writes, being present, or ¡Presente!, constitutes a decisive act of resistance and solidarity.",[31149,31152],{"start":31150,"end":31151,"type":112},672,681,{"start":24799,"end":4868,"type":112},{"type":23,"text":31154,"spans":31155},"Encompassing strategic moves, social movements, and embodied ways of being within its formulation of movement, the Symposium aligns itself with modes of thought and practice that consider cultures, objects, and architectures—as well as their ephemeral traces —as complex, interrelated entities that are always becoming. Movement & Presence thus invites proposals that utilize movement as an interpretive lens: how can studying the physical and social circulation of objects, artifacts, and archives expand their potential for meaning, resistance, or dynamic presence?",[31156],{"start":5607,"end":12339,"type":112},{"type":23,"text":23398,"spans":31158},[31159],{"start":156,"end":6070,"type":407},{"type":23,"text":23402,"spans":31161},[],{"type":23,"text":31163,"spans":31164},"Migration and diasporic experiences",[],{"type":23,"text":31166,"spans":31167},"Pilgrimage, procession, and carnival",[],{"type":23,"text":23402,"spans":31169},[],{"type":23,"text":31171,"spans":31172},"Performance and embodied knowledge as a form of practice",[],{"type":23,"text":31174,"spans":31175},"Networks of exchange within the Americas and across the Atlantic and Pacific",[],{"type":23,"text":31177,"spans":31178},"The visual or artistic strategies employed by social and political movements",[],{"type":23,"text":31180,"spans":31181},"Digital and proto-digital networks (which may also be pertinent to any of the above bullet points)",[],{"type":23,"text":31183,"spans":31184},"Artists, activists, graduate students, and emerging scholars are invited to apply, especially those based in Latin America and the Caribbean. Topics from all historical periods of Latin American / Latinx / Chicanx / and Caribbean art (e.g. Ancient, Colonial, Modern, Contemporary), as well as fields outside the realm of art history, but grounded in visual material (e.g. Cinema and Media Studies, Latin American and Latinx studies, Visual Culture) are highly encouraged. Abstracts will be accepted in English, Spanish, and Portuguese. ",[],{"type":23,"text":31186,"spans":31187},"The Symposium will be accessible to participants and attendees via Zoom, and may also include in-person programming for those participants who are able and willing to travel to New York City. Further logistical details will be released to confirmed participants as soon as possible.",[],{"type":23,"text":31189,"spans":31190},"To apply, please submit an abstract of up to 300 words and an abbreviated CV to latamartsymposium@gmail.com by Friday, January 7. Applicants will be notified of their acceptance by Monday, January 24. Presentations will be limited to 20 minutes, with additional time for discussion. The Symposium Committee prioritizes participation from graduate students and emerging scholars across the globe. In your application, please indicate your current institutional affiliation as well as the languages you speak. Please also inform us whether it may be possible for you to visit New York City and participate in the Symposium in person, in the event that in-person or hybrid programming is possible. Please note that your ability to travel to New York will not affect the selection process for participation.",[31191,31194,31195,31196],{"start":11262,"end":6774,"type":630,"data":31192},{"link_type":73,"url":31193},"mailto:latamsymposium@gmail.com",{"start":4688,"end":3865,"type":407},{"start":11396,"end":10594,"type":407},{"start":31197,"end":6758,"type":407},747,{"type":23,"text":31199,"spans":31200},"Given the changing policies for international travel, potential speakers are advised to consult travel advisories and restrictions posted by the U.S. Department of State. We recognize that the approved vaccines are not equitably distributed in the Americas, and lack of access to the vaccines may prevent scholars from visiting New York. In light of this and the evolving status of COVID-19 transmission, the Symposium may adhere to a hybrid or fully virtual model. We will keep invited participants informed as we negotiate these contingencies.",[31201],{"start":31202,"end":7024,"type":630,"data":31203},145,{"link_type":73,"url":31204},"https://travel.state.gov/content/travel/en/international-travel/emergencies/covid-19-faqs-for-travel-to-the-us-information.html",{"type":23,"text":31206,"spans":31207},"This symposium is generously funded by the Institute for Studies on Latin American Art (ISLAA), the Rewald Endowment of the Graduate Center’s Ph.D. Program in Art History, and the Department of Latin American and Iberian Cultures, the Institute for Latin American Studies, and the Department of Art History and Archaeology at Columbia University. It is coordinated by Professors Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art at the Institute of Fine Arts; Anna Indych-López, Professor of 20th-Century Latin American and Latinx Art at the Graduate Center; Katherine Manthorne, Professor of Art of the United States, Latin America, and their Cross-Currents, 1750–1950 at the Graduate Center; Lisa Trever, Lisa and Bernard Selz Associate Professor in Pre-Columbian Art History and Archaeology at Columbia University; Jerónimo Duarte-Riascos, Assistant Professor at Department of Latin American and Iberian Cultures, Columbia University. The Symposium is organized by current PhD Students Mónica Ramírez Bernal, Chloë Courtney, Kerry Doran, Cathryn Jijón, Shannah Rose, and MA Candidate Sophia Gebara.",[],{"type":23,"text":31209,"spans":31210},"For further information or with any questions, please contact latamartsymposium@gmail.com.",[31211],{"start":5699,"end":7675,"type":630,"data":31212},{"link_type":73,"url":31193},"text$07fb3377-4f5e-444d-b04b-2dc7b04b204d",{},{"dimensions":31216,"alt":31099,"copyright":7,"url":31100,"id":31101,"edit":31217},{"width":247,"height":247},{"x":156,"y":156,"zoom":172,"background":915},[31219],{"type":23,"text":31220,"spans":31221},"Call For Papers deadline extended to January 14, 2022 for the Sixth Annual Symposium of Latin American Art “Movement and Presence: The Visual Culture of the Americas.”",[],[],[],{"id":31225,"uid":31226,"url":7,"type":6292,"href":31227,"tags":31228,"first_publication_date":31229,"last_publication_date":31230,"slugs":31231,"linked_documents":31233,"lang":17,"alternate_languages":31234,"data":31235},"ZRMxmhAAACoAS_oA","chief-curator","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRMxmhAAACoAS_oA%22%29+%5D%5D",[11],"2023-09-26T19:31:40+0000","2024-03-14T13:41:30+0000",[31232],"bernardo-mosqueira-appointed-chief-curator-of-islaa",[],[],{"title":31236,"series":31237,"hero_image":31240,"hero_image_caption":31247,"location":31248,"date":31249,"end_date":7,"institutions":31250,"slices":31253,"meta_description":31288,"meta_image":31289,"meta_title":31236,"preview_image":31290,"preview_description":31293,"related_content":31296,"related_products":31297},"Bernardo Mosqueira Appointed Chief Curator of ISLAA",[31238],{"series":31239},{"link_type":30},{"dimensions":31241,"alt":31243,"copyright":7,"url":31244,"id":31245,"edit":31246},{"width":12723,"height":31242},936,"Landscape-oriented portrait photograph of Bernardo Mosqueira, who smiles at the camera. The figure wears a white buttondown shirt, and is framed in the background by an unidentified New York City storefront.","https://images.prismic.io/islaa/ed54a356-98e0-4ac1-ad93-c752b0790f24_BM-Portrait_Photo-by-Daniel-Arnold.jpeg?auto=compress,format","ZLhf5BIAACYAzztU",{"x":156,"y":156,"zoom":172,"background":915},[],{"link_type":30},"2023-06-29",[31251],{"institution":31252},{"link_type":30},[31254],{"variation":101,"version":102,"items":31255,"primary":31257,"id":31287,"slice_type":522,"slice_label":7},[31256],{},{"text":31258},[31259,31262,31265,31277,31282,31284],{"type":23,"text":31260,"spans":31261},"The Institute for Studies on Latin American Art (ISLAA) is proud to announce the appointment of Bernardo Mosqueira as the institute’s first Chief Curator. Mosqueira's dedication to developing innovative institutional practices and his recognized experience supporting emerging, radical, and overlooked artists from Latin America will make a significant contribution to ISLAA’s exhibition program. As Chief Curator, Mosqueira’s long-standing connection to ISLAA will bolster its mission to expand scholarship, public engagement, and the international visibility of art from Latin America during an exciting period of growth.\n",[],{"type":23,"text":31263,"spans":31264},"\"I'm thrilled to join ISLAA as Chief Curator. I look forward to engaging with and expanding the ISLAA Collection and the Library and Archives and developing exhibitions and programs highlighting the strength, multiplicity, and complexity of art produced in Latin America. I'm excited to collaborate with ISLAA's incredible team and wide network of partners to nurture alternative and innovative narratives about Latin American art and its contributions to the world,\" says Mosqueira.",[],{"type":23,"text":31266,"spans":31267},"Mosqueira comes to ISLAA from the New Museum, where he was the inaugural ISLAA Curatorial Fellow (2021–2023). This curatorial position, sponsored by ISLAA in partnership with the New Museum, supports emerging curators dedicated to Latin American and Latinx art. During his fellowship, Mosqueira curated shows such as Daniel Lie: Unnamed Entities; Screens Series: Naomi Rincón Gallardo; Vivian Caccuri and Miles Greenberg: The Shadow of Spring; Screens Series: Aline Motta; and Bárbara Wagner and Benjamin de Burca: Five Times Brazil (co-curated with Margot Norton); and was part of the curatorial team of the Fifth New Museum Triennial: Soft Water Hard Stone (co-curated with Margot Norton and Jamillah James). Mosqueira also curated Wynnie Mynerva's first solo exhibition in the United States and co-curated the most comprehensive exhibition to date by Pépon Osorio, both open at the New Museum through September 17.\n",[31268,31269,31271,31272,31274],{"start":12012,"end":5799,"type":112},{"start":653,"end":31270,"type":112},385,{"start":3610,"end":21832,"type":112},{"start":31273,"end":851,"type":112},478,{"start":31275,"end":31276,"type":112},611,660,{"type":23,"text":31278,"spans":31279},"In 2022, Mosqueira curated Eros Rising: Visions of the Erotic in Latin American Art at ISLAA alongside curator Mariano López Seoane. Eros Rising presented a cross-section of intergenerational artists, including Wynnie Mynerva (b. 1992, Peru) and Carlos Motta (b. 1978, Colombia), and David Lamelas (b. 1946, Argentina), whose works challenge codified expressions of sensuality and static definitions to explore more expansive conceptions of the self and the erotic.",[31280,31281],{"start":402,"end":7381,"type":112},{"start":9553,"end":9554,"type":112},{"type":23,"text":138,"spans":31283},[],{"type":23,"text":31285,"spans":31286},"Photo: Daniel Arnold",[],"text$4df83983-756b-4f8b-b253-275e74d5d9ed","Bernardo Mosqueira will join ISLAA as the inaugural chief curator",{},{"dimensions":31291,"alt":31243,"copyright":7,"url":31244,"id":31245,"edit":31292},{"width":12723,"height":31242},{"x":156,"y":156,"zoom":172,"background":915},[31294],{"type":23,"text":31288,"spans":31295},[],[],[],{"id":13013,"uid":13018,"url":7,"type":6292,"href":31299,"tags":31300,"first_publication_date":13016,"last_publication_date":13017,"slugs":31301,"linked_documents":31302,"lang":17,"alternate_languages":31303,"data":31304},"https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZRMxOhAAACoAS_ll%22%29+%5D%5D",[11],[13015],[],[],{"title":31305,"series":31306,"hero_image":31311,"hero_image_caption":31319,"location":31324,"date":31325,"end_date":7,"institutions":31326,"slices":31329,"meta_description":7,"meta_image":31438,"meta_title":7,"preview_image":31439,"preview_description":31442,"related_content":31446,"related_products":31447},"Selected Summer 2023 ISLAA Writers in Residence Announced",[31307],{"series":31308},{"id":12526,"type":1366,"tags":31309,"lang":17,"slug":12528,"first_publication_date":12529,"last_publication_date":12530,"uid":12528,"link_type":30,"key":31310,"isBroken":47},[],"64554e0f-7578-4ba0-bb6a-2202054cedf1",{"dimensions":31312,"alt":31315,"copyright":7,"url":31316,"id":31317,"edit":31318},{"width":31313,"height":31314},3131,2230,"Black-and-white photograph of trans woman standing in the street in a low-cut white dress with a slit in the leg.","https://images.prismic.io/islaa/a55d6a74-fab0-4e82-9012-fe58f7ba19f1_The-Manuel-Herreros-de-Lemos-and-Mateo-Manaure-Arilla-Collection.JPG?auto=compress,format","ZSCYcxIAACIAxsxN",{"x":156,"y":156,"zoom":172,"background":915},[31320],{"type":23,"text":31321,"spans":31322},"Manuel Herreros de Lemos, Untitled (Marilin), 1982. Inkjet print on Hahnemühle paper, 10 5/8 x 7 3/8 in. The Manuel Herreros de Lemos and Mateo Manaure Arilla Collection. Institute for Studies on Latin American Art (ISLAA) Library and Archives.",[31323],{"start":430,"end":998,"type":112},{"link_type":30},"2023-06-16",[31327],{"institution":31328},{"link_type":30},[31330,31370],{"variation":101,"version":102,"items":31331,"primary":31333,"id":31369,"slice_type":522,"slice_label":7},[31332],{},{"text":31334},[31335,31339,31342,31345,31349,31352,31356,31359,31363,31366],{"type":23,"text":31336,"spans":31337},"Summer 2023 Selected Residents",[31338],{"start":156,"end":144,"type":407},{"type":23,"text":31340,"spans":31341},"After carefully reviewing dozens of outstanding applications, our selection committee has selected the following six residents for the first open-call based Summer 2023 edition of the ISLAA Writer in Residence program. Congratulations to all upcoming residents!",[],{"type":23,"text":31343,"spans":31344},"Please stay tuned for future research opportunities at ISLAA, including the Fall 2023 cycle of the ISLAA Research Grant.",[],{"type":23,"text":31346,"spans":31347},"Collection of Artist's Books by Anna Bella Geiger",[31348],{"start":156,"end":6697,"type":407},{"type":23,"text":31350,"spans":31351},"Maggie Borowitz, University of Chicago",[],{"type":23,"text":31353,"spans":31354},"Jorge Lopera, Universidad Nacional Autónoma de México\n\nThe Manuel Herreros de Lemos and Mateo Manaure Arilla Collection",[31355],{"start":406,"end":5599,"type":407},{"type":23,"text":31357,"spans":31358},"Irene Rihuete-Varea, Brown University",[],{"type":23,"text":31360,"spans":31361},"Joseph Shaikewitz, the Institute of Fine Arts, New York University\n\n\"El Dibujazo\" Collection",[31362],{"start":7273,"end":436,"type":407},{"type":23,"text":31364,"spans":31365},"Irene García, Boston University",[],{"type":23,"text":31367,"spans":31368},"Patricia Roig Canepa, Goldsmiths College, University of London",[],"text$5cceced3-d768-4fc6-84ec-cfe8e4699320",{"variation":101,"version":102,"items":31371,"primary":31373,"id":31437,"slice_type":522,"slice_label":7},[31372],{},{"text":31374},[31375,31379,31382,31385,31391,31394,31398,31402,31406,31409,31413,31424,31427,31431,31434],{"type":23,"text":31376,"spans":31377},"ISLAA Writer in Residence Summer 2023",[31378],{"start":156,"end":2623,"type":407},{"type":23,"text":31380,"spans":31381},"The Writer in Residence program offers a first look at newly processed primary sources and provides the opportunity to conduct research on exceptional artists and movements from postwar and contemporary Latin American art.",[],{"type":23,"text":31383,"spans":31384},"This summer, selected Writers in Residence will work remotely to explore materials from one of three fully digitized collections from the ISLAA Library and Archives: the Manuel Herreros de Lemos and Mateo Manaure Arilla Collection, a collection of selected artist’s books by Anna Bella Geiger, and the “El Dibujazo” Collection. Residents will produce an essay based on their selected digital collection, in alignment with their own research interests and expertise. Each selected participant will be awarded a $2,000 grant in recognition of these research and writing endeavors.",[],{"type":23,"text":31386,"spans":31387},"The application materials required include a research proposal, a CV, and a writing sample. Find out more about residency conditions and submission requirements here.",[31388],{"start":7147,"end":10391,"type":630,"data":31389},{"link_type":73,"url":31390,"target":633},"https://smr.to/p88567",{"type":23,"text":31392,"spans":31393},"If you have questions about the ISLAA Writer in Residence program, please email Blanca Serrano Ortiz de Solórzano, ISLAA project director: blanca.serranoortiz@islaa.org.",[],{"type":23,"text":31395,"spans":31396},"The three digital collections selected for the Summer 2023 call for proposals are:\n",[31397],{"start":7192,"end":7381,"type":407},{"type":23,"text":31399,"spans":31400},"The Manuel Herreros de Lemos and Mateo Manaure Arilla Collection",[31401],{"start":156,"end":7837,"type":407},{"type":23,"text":31403,"spans":31404},"This archival collection includes a restored digital edition of the film TRANS, a 1982 documentary film depicting transgender women in Caracas, shot by Manuel Herreros de Lemos and Mateo Manaure Arilla. Shown publicly only once, at the Cinemateca Nacional de Venezuela in 1983, this rare film pays homage to the testimonies and experiences of transgender women and bears witness to their experiences of transphobia and discrimination. The collection also includes photographic prints taken by Herreros de Lemos during the documentary’s preproduction phase and ephemera related to the film.",[31405],{"start":1339,"end":2516,"type":112},{"type":23,"text":31407,"spans":31408},"All written documents and ephemera in this collection are in Spanish.",[],{"type":23,"text":31410,"spans":31411},"Artist’s books by Anna Bella Geiger",[31412],{"start":156,"end":8615,"type":407},{"type":23,"text":31414,"spans":31415},"This collection comprises seventeen artist’s books by Brazilian conceptual artist Anna Bella Geiger. Executed between 1974 and 1977, the spiral-bound notebooks, which contain pencil and ink sketches as well as collages, examine the conditions that drove artistic production in Brazil at the time of their production, considering questions of cultural hegemonies and interdependencies, marginality and domination within space and language, and the role of perspective and perception therein. Featured titles include A Alimentação (1975), Admissão (1975), História do Brasil (1975–76), and Sobre a arte (1976).",[31416,31418,31420,31421,31423],{"start":13440,"end":31417,"type":112},525,{"start":13441,"end":31419,"type":112},528,{"start":16442,"end":21685,"type":112},{"start":14296,"end":31422,"type":112},572,{"start":418,"end":9446,"type":112},{"type":23,"text":31425,"spans":31426},"All written documents and ephemera in this collection are in Portuguese.",[],{"type":23,"text":31428,"spans":31429},"“El Dibujazo” Collection",[31430],{"start":156,"end":628,"type":407},{"type":23,"text":31432,"spans":31433},"In the 1960s, young artists in Uruguay turned to the medium of drawing and experimented with neorealism and neo-Expressionism. Often known as “El Dibujazo,” this generation explored the changing sociopolitical cityscape of Montevideo and reflected on topics such as mass media and class struggles. 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Graduate Workshop Series",[31462],{"series":31463},{"id":10095,"type":1366,"tags":31464,"lang":17,"slug":10097,"first_publication_date":10098,"last_publication_date":10098,"uid":10097,"link_type":30,"key":31465,"isBroken":47},[],"9bfb14ac-8a03-4731-ba12-1dc64e932af5",{"dimensions":31467,"alt":31468,"copyright":7,"url":31469,"id":31470,"edit":31471},{"width":1869,"height":1869},"Event text over blue background","https://images.prismic.io/islaa/296da8fe-01c4-4365-8157-ebf11dde26bf_southabt_nov.png?auto=compress,format","ZShsfxAAACMAuFAH",{"x":156,"y":156,"zoom":172,"background":173},[31473],{"type":23,"text":31474,"spans":31475},"South and About! Open Call For Proposals",[],{"id":14357,"type":38,"tags":31477,"lang":17,"slug":10128,"first_publication_date":14359,"last_publication_date":14360,"uid":14361,"data":31478,"link_type":30,"key":31479,"isBroken":47},[],{"name":14363},"fec200cb-6224-4d0e-992b-779d22fcee80",[31481],{"institution":31482},{"id":10126,"type":327,"tags":31483,"lang":17,"slug":10128,"first_publication_date":10129,"last_publication_date":10130,"uid":10131,"link_type":30,"key":31484,"isBroken":47},[],"c100b2b3-822f-4a33-929d-957b1411df3e",[31486],{"variation":101,"version":102,"items":31487,"primary":31489,"id":31509,"slice_type":522,"slice_label":7},[31488],{},{"text":31490},[31491,31494,31497,31500],{"type":23,"text":31492,"spans":31493},"Open call for submissions for the next South and About! graduate research workshop.",[],{"type":23,"text":31495,"spans":31496},"The student-organized session will be held in-person at the Institute of Fine Arts, New York University on Monday, November 6, 2023 from 6:30 to 8:00 PM. Each workshop will feature twenty-minute talks of works-in-progress by two selected speakers followed by informal discussions among friends. ",[],{"type":23,"text":31498,"spans":31499},"South & About! began as a student initiative at the Institute of Fine Arts, NYU in partnership with ISLAA with the goal of creating an intellectual forum for scholars in art history and related fields to share and workshop works-in-progress among peers.\n",[],{"type":23,"text":31501,"spans":31502},"Please find program and submission details here. Submissions are due to ifasouthandabout@gmail.com by October 8, 2023. ",[31503,31506],{"start":2683,"end":6070,"type":630,"data":31504},{"link_type":73,"url":31505,"target":633},"https://islaa.nyc3.cdn.digitaloceanspaces.com/media/OCFP-SA-Fall-2023-Session-2.docx.pdf#asset:84690@2:url",{"start":1339,"end":11626,"type":630,"data":31507},{"link_type":73,"url":31508,"target":633},"mailto:ifasouthandabout@gmail.com","text$972e3568-58d4-4fd9-8853-4da292bb8d8b",{},{"dimensions":31512,"alt":31468,"copyright":7,"url":31469,"id":31470,"edit":31513},{"width":1869,"height":1869},{"x":156,"y":156,"zoom":172,"background":173},[31515],{"type":23,"text":31492,"spans":31516},[],[],[],{"id":31520,"uid":31521,"url":7,"type":6292,"href":31522,"tags":31523,"first_publication_date":31524,"last_publication_date":31525,"slugs":31526,"linked_documents":31527,"lang":17,"alternate_languages":31528,"data":31529},"ZSCaOxIAACUAxtRW","opening-celebration-for-islaas-tribeca-headquarters","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZSCaOxIAACUAxtRW%22%29+%5D%5D",[11],"2023-10-06T23:37:34+0000","2024-03-13T21:37:41+0000",[31521],[],[],{"title":31530,"series":31531,"hero_image":31534,"hero_image_caption":31540,"location":31544,"date":1580,"end_date":7,"institutions":31548,"slices":31551,"meta_description":31561,"meta_image":31562,"meta_title":31530,"preview_image":31563,"preview_description":31566,"related_content":31569,"related_products":31570},"Opening Celebration for ISLAA's Tribeca Headquarters",[31532],{"series":31533},{"link_type":30},{"dimensions":31535,"alt":31536,"copyright":7,"url":31537,"id":31538,"edit":31539},{"width":23483,"height":12680},"Hand-drawn facade sketched in black on a white backdrop, depicting a building storefront with window signage including ISLAA's logo and the message\"Coming Fall 2023\"","https://images.prismic.io/islaa/b0420971-6222-4d8f-928a-ba7ce1225cf8_IMG_8561.jpg?auto=compress,format","ZSCaAxIAACIAxtNb",{"x":156,"y":156,"zoom":172,"background":915},[31541],{"type":23,"text":31542,"spans":31543},"Illustration: Dolan Bailey",[],{"id":37,"type":38,"tags":31545,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":31546,"link_type":30,"key":31547,"isBroken":47},[],{"name":45},"6c0cc028-47a0-41b7-81da-9d001a22ddc3",[31549],{"institution":31550},{"link_type":30},[31552],{"variation":101,"version":102,"items":31553,"primary":31555,"id":31560,"slice_type":522,"slice_label":7},[31554],{},{"text":31556},[31557],{"type":23,"text":31558,"spans":31559},"ISLAA is excited to welcome you to our new headquarters in Tribeca. Located at 142 Franklin Street, the new space expands our public access and capacity for programming. \n\nThe location features multiple gallery spaces which will host our in-house exhibition program, drawing from the ISLAA collection. The headquarters also is home to a new Research Center, which will make the ISLAA Library and Archives more publicly accessible.\n\nJoin us on October 28, 2023 from 12–6 PM to celebrate the grand opening. Guests will be able to enjoy ISLAA’s fall exhibitions, tour the space, and enjoy churros from Chocobar Cortés all day.\n\nThis event is free and open to all. We look forward to inviting you inside!",[],"text$e03db14c-f0ea-4e5a-b753-6bee3184cca4","Join us to celebrate the opening of our new space at 142 Franklin Street.",{},{"dimensions":31564,"alt":31536,"copyright":7,"url":31537,"id":31538,"edit":31565},{"width":23483,"height":12680},{"x":156,"y":156,"zoom":172,"background":915},[31567],{"type":23,"text":31561,"spans":31568},[],[],[],{"id":31572,"uid":31573,"url":7,"type":464,"href":31574,"tags":31575,"first_publication_date":31576,"last_publication_date":31577,"slugs":31578,"linked_documents":31580,"lang":17,"alternate_languages":31581,"data":31582},"ZR730BIAACUAv6R2","2023-oct-ucp-alvarez-nelson","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZR730BIAACUAv6R2%22%29+%5D%5D",[11],"2023-10-05T17:57:34+0000","2024-03-13T21:29:58+0000",[31579],"book-launch-for-the-affinity-of-neoconcretism-and-forming-abstraction",[],[],{"title":31583,"series":31584,"hero_image":31587,"hero_caption":31592,"location":31593,"date":31597,"end_date":7,"institutions":31598,"linked_material":31601,"slices":31604,"meta_description":7,"meta_image":31670,"meta_title":7,"preview_image":31671,"preview_description":31674,"preview_image_caption":31681,"related_content":31682,"related_products":31683},"Book launch for “The Affinity of Neoconcretism” and “Forming Abstraction”",[31585],{"series":31586},{"link_type":30},{"dimensions":31588,"alt":7,"copyright":7,"url":31589,"id":31590,"edit":31591},{"width":1959,"height":1959},"https://images.prismic.io/islaa/6b30612b-2d1d-4cc2-a0cb-d51494d81011_UCP-BOOK-LAUNCHES-WEB-GRAPHICS3.jpg?auto=compress,format","ZR73VRIAACUAv6I1",{"x":156,"y":156,"zoom":172,"background":915},[],{"id":37,"type":38,"tags":31594,"lang":17,"slug":40,"first_publication_date":41,"last_publication_date":42,"uid":43,"data":31595,"link_type":30,"key":31596,"isBroken":47},[],{"name":45},"da560166-d692-4edd-88dc-0b32dfd36d35","2023-10-05",[31599],{"institution":31600},{"link_type":30},[31602],{"link":31603,"link_label":7},{"link_type":503},[31605,31635],{"variation":101,"version":102,"items":31606,"primary":31633,"id":31634,"slice_type":10148,"slice_label":7},[31607,31614,31618,31622,31629],{"category":10248,"value":31608},{"id":31609,"type":84,"tags":31610,"lang":17,"slug":31611,"first_publication_date":31612,"last_publication_date":31612,"uid":31611,"link_type":30,"key":31613,"isBroken":47},"ZR74JhIAACMAv6YF",[],"mariola-v.-alvarez","2023-10-05T17:53:45+0000","4df2fc2c-f8bf-4821-8427-060b16aebd6b",{"category":10248,"value":31615},{"id":10278,"type":84,"tags":31616,"lang":17,"slug":10280,"first_publication_date":10281,"last_publication_date":10281,"uid":10280,"link_type":30,"key":31617,"isBroken":47},[],"36fa15de-88f6-4639-ba36-0df2e1bb9c4a",{"category":10248,"value":31619},{"id":10250,"type":84,"tags":31620,"lang":17,"slug":10252,"first_publication_date":10253,"last_publication_date":10253,"uid":10252,"link_type":30,"key":31621,"isBroken":47},[],"6002bf19-a14b-4f2e-9198-14a7116c7ed4",{"category":13786,"value":31623},{"id":31624,"type":84,"tags":31625,"lang":17,"slug":31626,"first_publication_date":31627,"last_publication_date":31627,"uid":31626,"link_type":30,"key":31628,"isBroken":47},"ZR74ihIAACQAv6fw",[],"roberto-conduru","2023-10-05T17:55:25+0000","cdc313df-382b-44f6-a143-84fef118737d",{"category":23590,"value":31630},{"id":23592,"type":327,"tags":31631,"lang":17,"slug":23594,"first_publication_date":23595,"last_publication_date":23596,"uid":23597,"link_type":30,"key":31632,"isBroken":47},[],"e6632d44-e5bf-4494-a8b7-29d50a1bed51",{},"credits$737ed0d2-4b60-41df-b68b-53527c2f4b67",{"variation":101,"version":102,"items":31636,"primary":31638,"id":31669,"slice_type":522,"slice_label":7},[31637],{},{"text":31639},[31640,31643,31649,31654,31660,31662],{"type":23,"text":31641,"spans":31642},"October 5, 2023\n6:30 PM EDT",[],{"type":23,"text":31644,"spans":31645},"Register for the event",[31646],{"start":156,"end":2610,"type":630,"data":31647},{"link_type":73,"url":31648,"target":633},"https://docs.google.com/forms/d/e/1FAIpQLSdRBPC6ea44_LbFbUaTFV40p2yp8aV8Am0c3fKBg8sP3iK7Sg/viewform?vc=0&c=0&w=1&flr=0",{"type":23,"text":31650,"spans":31651},"Join us for a book launch celebrating Mariola V. Alvarez’s The Affinity of Neoconcretism: Interdisciplinary Collaborations in Brazilian Modernism, 1954–1964 (March 2023) and Adele Nelson’s Forming Abstraction: Art and Institutions in Postwar Brazil (February 2022). This event features introductions by Studies on Latin American Art series editor Alexander Alberro followed by a conversation with the authors, moderated by professor of art history at Southern Methodist University, Roberto Conduru.",[31652,31653],{"start":1892,"end":12559,"type":112},{"start":4485,"end":14516,"type":112},{"type":23,"text":31655,"spans":31656},"Forming Abstraction highlights the importance of exhibitionary and pedagogical institutions in the development of abstract art in Brazil. Nelson focuses on the formation of the São Paulo Biennial in 1951; the early activities of artists Geraldo de Barros, Lygia Clark, Waldemar Cordeiro, Hélio Oiticica, Lygia Pape, and Ivan Serpa; and the ideas of critics like Mário Pedrosa. The Affinity of Neoconcretism focuses on the period directly following the events discussed by Forming Abstraction. Alvarez argues that the Neoconcretists—a group of artists and poets working together in Rio de Janeiro from 1959 to 1961—engendered a period of incredible optimism and economic development in Brazil. ",[31657,31658,31659],{"start":156,"end":2665,"type":112},{"start":12634,"end":6422,"type":112},{"start":30407,"end":1467,"type":112},{"type":23,"text":30217,"spans":31661},[],{"type":23,"text":31663,"spans":31664},"The University of California Press published The Affinity of Neoconcretism and Forming Abstraction as part of the series Studies on Latin American Art. Books in the series encompass studies of art history and cultural practices emerging from Central and South America, the Caribbean, and the Latin American diaspora in the twentieth and twenty-first centuries. International and cosmopolitan in scope, the series seeks to address the production, exhibition, and dissemination of art in and between countries and continents. This series is supported by the Institute for Studies on Latin American Art (ISLAA). ",[31665,31666,31667],{"start":145,"end":13325,"type":112},{"start":110,"end":11626,"type":112},{"start":5976,"end":4492,"type":630,"data":31668},{"link_type":73,"url":23629,"target":633},"text$c0ca6afb-e9d8-43ad-a5e5-2307c184ebc3",{},{"dimensions":31672,"alt":7,"copyright":7,"url":31589,"id":31590,"edit":31673},{"width":1959,"height":1959},{"x":156,"y":156,"zoom":172,"background":915},[31675],{"type":23,"text":31676,"spans":31677},"Celebrating the release of Mariola V. Alvarez’s The Affinity of Neoconcretism: Interdisciplinary Collaborations in Brazilian Modernism, 1954–1964 (March 2023) and Adele Nelson’s Forming Abstraction: Art and Institutions in Postwar Brazil (February 2022), this event features introductions by Studies on Latin American Art series editor Alexander Alberro followed by a conversation with the authors, moderated by Roberto Conduru.",[31678,31679],{"start":937,"end":9554,"type":112},{"start":14731,"end":31680,"type":112},238,[],[],[],{"id":31685,"uid":31686,"url":7,"type":464,"href":31687,"tags":31688,"first_publication_date":31689,"last_publication_date":31690,"slugs":31691,"linked_documents":31694,"lang":17,"alternate_languages":31695,"data":31696},"ZShtbRAAACQAuFRa","event_partner-2023-oct-nyu-saa-mandel-moran","https://islaa.cdn.prismic.io/api/v2/documents/search?ref=ac7k1hIAACAAjV4_&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZShtbRAAACQAuFRa%22%29+%5D%5D",[11],"2023-10-12T22:07:25+0000","2024-03-13T21:28:40+0000",[31692,31693],"south-and-about-with-jonathan-mandel-and-bianca-moran","jonathan-mandel-and-bianca-moran",[],[],{"title":31697,"series":31698,"hero_image":31703,"hero_caption":31709,"location":31713,"date":31714,"end_date":7,"institutions":31715,"linked_material":31720,"slices":31723,"meta_description":7,"meta_image":31767,"meta_title":7,"preview_image":31768,"preview_description":31771,"preview_image_caption":31774,"related_content":31775,"related_products":31776},"South and About! with Jonathan Mandel and Bianca Morán",[31699],{"series":31700},{"id":10095,"type":1366,"tags":31701,"lang":17,"slug":10097,"first_publication_date":10098,"last_publication_date":10098,"uid":10097,"link_type":30,"key":31702,"isBroken":47},[],"c67a9f4c-d2cb-4bb9-892f-18b793643891",{"dimensions":31704,"alt":31705,"copyright":7,"url":31706,"id":31707,"edit":31708},{"width":1869,"height":1869},"Text with event information details over ochre grid","https://images.prismic.io/islaa/f2b6dc9b-c54b-4636-8829-8d35eb6afb4d_southabout_square.png?auto=compress,format","ZSht5hAAACQAuFaJ",{"x":156,"y":156,"zoom":172,"background":173},[31710],{"type":23,"text":31711,"spans":31712},"South and About! 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This program invites graduate students and emerging scholars in art history and related disciplines to participate in informal discussions among their peers. The thematic focus is broad and welcomes interdisciplinary methodological approaches, including, but not limited to, temporal and geographic proposals of an innovative nature. The workshop seeks to foster and strengthen further interconnections within research communities via creative intellectual exchanges. Established by ISLAA and The Institute of Fine Arts in 2017, South and About! happens twice every semester and takes place at the Institute of Fine Arts, NYU. 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The first English-language translation of the “secret” poetry of Hélio Oiticica, the publication uncovers a crucial chapter in the development of one of Brazil’s most significant twentieth-century artists.",[31874,31875],{"start":430,"end":3635,"type":112},{"start":11532,"end":4780,"type":112},{"type":23,"text":31877,"spans":31878},"This event features a presentation and reading by the book's editor and translator, Rebecca Kosick, followed by a conversation between Kosick and pioneering Oiticica scholar Irene Small.",[],{"type":23,"text":31880,"spans":31881},"The launch is open to the public and will take place in person at ISLAA, located at 142 Franklin Street in New York City. Attendees are encouraged to register online in advance. 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Despite his global fame as a founder of the interdisciplinary movement known as neoconcretismo, his collaborations with major Brazilian artists and writers (Lygia Clark, Lygia Pape, Ferreira Gullar, etc.), and his influence across a range of disciplines (including painting, film, installation, and participatory art), Oiticica’s “secret” poems are almost unknown and have never been published as a collection. This edition, featuring the original texts in facsimile reproductions along with English translations and accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry to Oiticica’s thinking on participation, sensation, and memory. ",[31899,31900],{"start":3865,"end":448,"type":112},{"start":23093,"end":11424,"type":112},"text$ea372860-5b86-4de5-8072-55cb2d7e7043",{"variation":101,"version":102,"items":31903,"primary":31905,"id":31911,"slice_type":522,"slice_label":7},[31904],{},{"text":31906},[31907],{"type":23,"text":31908,"spans":31909},"Hélio Oiticica (1937–1980)​ is among twentieth-century Brazil’s most significant artists, with a multifaceted practice that included painting, sculpture, installation, performance, filmmaking, and writing. 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