- Year of publication: 2017
- Source: Show
- Pages: 3-5
- DOI Address: -
BÚSQUEDAS (ANTI)ESTÉTICAS Y COMPROMISO POLÍTICO Y SOCIAL DEL ARTE EN ARGENTINA EN LOS SIGLOS XX Y XXI
(ANTI)AESTHETICS INVESTIGATIONS AND SOCIOPOLITICAL COMMITMENT OF ART IN ARGENTINA DURING THE 20TH AND 21ST CENTURIES
(ANTY)ESTETYCZNE POSZUKIWANIA ORAZ ZAANGAŻOWANIE POLITYCZNE I SPOŁECZNE W SZTUCE W ARGENTYNIE XX I XXI WIEKU
Avant-garde and revolution as the main thrust of the Argentine art in the 1960s
The purpose of this work is to indicate the ways in which art and left-wing politics expressed themselves duirng the “long decade”. Avant-garde and revolution worked then as the art main thrust. The extensive repertoire of artistic manifestations reveals that from the encounter of these two concepts diverse and somtimes opposing poetics and artisitc-political programmes arised. The metaphors, although most dissimilar, overlap and mix up with each other in the same subjects in a vertiginous way. In spite of their diversity, they are united by the common understanding of the art as being capable of infl uencing the human life. There are plentiful of war metaphors: the art is perceived as activating and detonating power. The text proposes possible interpretations of the links between the art and the politics in the period of time investigated.
Art and Communism in Argentina in the first half of the 20th century
The purpose of this article is to reconstruct and analyse different aesthetic attitudes presented by the Commuinst Party of Argentina from its creation to 1948. On the basis of an analysis of the newspapers and journals the subject of the social role of art and artists is brought back under discussion, with opinions of famous party leaders, artists and writers. Moreover, the relations of visual art manifestations (realistic and concrete) with the Party, as well as the role of Argentina in the promotion of the socialitic realism as an official aesthetic current of Communism are investigated.
Photographic memories: three visions of Argentine in the post-dictatorial time
Recent photographic essays investigate and make visible the relationship with the traumatic past of the last and most ferocious Argentine dictatorship (1976- 1983). These post-dictatorial images work as photographic memories: artistic visual artifacts based on the resource of photography and in dialogue with a recent past. These images matter here not so much for their adaptation to a recorded event but for their particular construction, strategies and production processes of meaning. In this framework, it will be analyzed the works of three photographic artists. First, the photographs with which Helen Zout evokes the machines and death devices launched in the Clandestine Detention Centers by the last military dictatorship. Secondly, the reconstructed photos by Lucila Quieto, a photographer whose father, Carlos Quieto, was disappeared by the last Argentine military dictatorship, when Lucila was not yet born. Her photographic serie Archeology of the absence arose from the lack of photos with her father in the family album and the need to visually reconstruct an impossible moment. Finally, the work Calle 30 Nº1134 by photographer Hugo Aveta will open the question as to whether the remains of the past can be created – that is, invented.
Oblique poetics. Edgardo Antonio Vigo and the Diagonal Cero
The purpose of this work is to present the experimen tal journal Diagonal Cero, published by Edgardo Antonio Vigo in the city of La Plata from 1962 to 1969. Vigo perceived his journal as a device of multiple functions, a mobile platform on which he could expose the Latinamerican poetry, manifiestos and essays, chronicles of the art of La Plata and editions of xylographic pieces. In December of 1966, with the publication of the number 20, Vigo oriented his journal towards promotion and conceptualization of the experimental poetry practice, which for that moment formed part of a wider concept of the “new poetry”. The presentation of this new poetry coincided with the formation of the group of experimental poets, Diagonal Cero Movement, to which belonged Vigo, Jorge de Luján Gutiérrez, Omar Gancedo, Carlos Ginzburg and Luis Pazos. Vigo, as well as other artists of his generation perceived the experimental poetry as a strategy of influencing and changing the world.
Cayc and the Art Systems as an institutional strategy
In 1977, Signs in artificial ecosystems, Cayc’ s group exhibition at the 14th Sao Paulo Biennal, stood up with the Itamaraty Prize. After almost a decade of work this landmark also close a period for the group and for Cayc. During those years the institution had strengthened its position as one of the most important spaces in Argentinean art scene and, undoubtedly, as the most internationally recognized. This fact was far from being casual, it responded to the strategy of Jorge Glusberg, Cayc’s only director and founder, who had proposed himself to establish a new institutional model. The aim was to create local and international circuits of visibility for both Argentinean and Latino-American artists. The concept of “art systems” was the main strategy he used to obtain this goal, a category that shaped his institutional program seeking for international entity for Latino-American art. The concept had a strong structuralist basis, the dominant theoretical tendency in culture during the sixties that incorporated “communication” and the union of disciplinary perspectives as the renewing concepts of the social sciences. Through the different uses of the term, this text intends to explain some of the institutional strategies that Cayc forged in the seventies in order to foster and promote Glusberg’s proposal to reach a new regional aesthetics.
Images and words lying in wait. Visual arts and poetry by the end of dictatorship in Argentina
Encounters among creators were crucial throughout the last dictatorship (1976–1983) in Argentina and the subsequent transition to democracy. Such encounters revealed modes of group production that differ from the programmatic style that may have been characteristic of avant-garde moveme nts. If carried out by a group, a mere work, disinterested and improvised, becomes significant at a time when the repressive regime and the state of siege has shaped all socialization experiences. To be suspected and to suspect others had been a dilemma and turned into a rule. In this study I shall deal with a number of productions by poets and visual artists. Besides exploring their relationships, I intend to look into the intersections of the poetics at stake. This article involves an analysis of a number of productions composed through the joint efforts of poets and visual artists such as Arturo Carrera, Néstor Perlongher, León Ferrari and Guillermo Kuitca, and others.
© 2017 Adam Marszałek Publishing House. All rights reserved.
Projekt i wykonanie Pollyart