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ICAA Documents Project Working Papers ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art Number 4 November 2016 Number 4 November 2016 ICAA Documents Project Working Papers The Publication Series for Documents of 20th-Century Latin American and Latino Art CONTENTS The ICAA Documents Project Working Papers series brings together papers inspired by the Documents of 20th-Century Latin American and Latino Art Project at the Museum of Fine Arts, Houston. It also serves as the official vehicle for assembling and distributing related research by the Center’s team of researchers, staff, and affiliates. 2 INTRODUCTION Beatriz R. Olivetti, Research and Digital Experience Specialist, Series Editor: María C. Gaztambide, Cover and p. 29: David Alfaro Siqueiros/ For more information, please contact: International Center for the Arts of the Americas, MFAH ICAA/MFAH Equipo Internacional, Retrato de la The International Center burguesía (details), 1939–40, Sindicato Number 4 Editor: María C. Gaztambide, for the Arts of the Americas (ICAA) Mexicano de Electricistas, Ciudad de ICAA/MFAH The Museum of Fine Arts, Houston 3 CONTRABIENAL: REDEFINING LATIN AMERICAN ART México. Photo: Archivo Carlos Renau P.O. Box 6826, Houston, TX 77265-6826 AND IDENTITY IN 1970S NEW YORK Design: Graciela Constanza, MFAH Aimé Iglesias Lukin, Winner of the Peter C. Marzio Award for Back Cover: Perla Benveniste, Sin título Telephone: 1 (713) 639-1528 © 2016 International Center for the Arts [Untitled], entry for Contrabienal [New York], Fax: 1 (713) 800-5385 Outstanding Research in 20th-Century Latin American and of the Americas, Museum of Fine Arts, 1971, private archives of Perla Benveniste, Latino Art, Graduate Student Essay [email protected] Houston. All rights reserved. Bueno Aires, ICAA Record ID 765986 ICAA Documents of 20th-Century Latin American and Latino Art Project 17 RETRATO DE LA BURGUESÍA O EL IMPULSO GRÁFICO DINÁMICO EN LA PLÁSTICA MONUMENTAL PROJECT ADMINISTRATION AND STAFF DOCUMENTS PROJECT EDITORIAL BOARD Edward Sullivan, PhD, New York University, Gary Tinterow, Director, MFAH Beverly Adams, PhD, The Diane and Bruce New York City, New York Paola Uribe, Winner of the Peter C. Marzio Award for Peter C. Marzio, PhD, Halle Collection, Scottsdale, Arizona Susana Torruella Leval, Independent Scholar, Outstanding Research in 20th-Century Latin American and Director, MFAH (1982–2010) Gilberto Cárdenas, PhD, Institute for New York City, New York Mari Carmen Ramírez, PhD, Director, Latino Studies, University of Notre Dame, Zuleiva Vivas, Independent Scholar, Latino Art, Honorable Mention Essay ICAA, and Wortham Curator of Latin South Bend, Indiana Caracas, Venezuela (2003–2010) American Art, MFAH Karen Cordero, PhD, CURARE, Espacio crítico Tomás Ybarra-Frausto, PhD, Independent María C. Gaztambide, PhD, para las artes/Universidad Iberoamericana, Scholar, San Antonio, Texas 23 CONTRIBUTORS Associate Director, ICAA Mexico City, Mexico Beatriz R. Olivetti, Research and Digital Olivier Debroise, Museo Universitario de Experience Specialist, ICAA Ciencias y Artes, UNAM, Mexico City Bonnie van Zoest, Latin American Art and ICAA (2004–2008) Project Administrator, ICAA Fabiola López-Durán, PhD, Rice University, Nora A. Heymann-Nava, Copyrights Houston, Texas Coordinator, ICAA Diane Lovejoy, Publications Department, María B. McGreger, Imaging and Web Content MFAH, Houston, Texas Specialist, ICAA Natalia Majluf, PhD, J. Angel Carrazco, Technical Assistant, ICAA Museo de Arte de Lima, Peru Yvonne Zepeda, Documents Project Technical Chon Noriega, PhD, Chicano Studies Research Assistant, ICAA Center, UCLA, Los Angeles, California Diane Lovejoy, Publications Director, MFAH James Oles, PhD, Wellesley College, Melina Kervandjian, PhD, Senior Editor, MFAH Wellesley, Massachusetts Héctor Olea, PhD, Translations and Marcelo Pacheco, MALBA-Colección Costantini, Publications Editor, ICAA & MFAH Buenos Aires, Argentina Shemon Bar-Tal, Chief Technology Officer, Ivonne Pini, Editor ArtNexus, and MFAH Universidad Nacional/Universidad Dave Thompson, Database and Business de los Andes, Bogotá, Colombia Intelligence Manager, MFAH Mari Carmen Ramírez, PhD, Director ICAA, Bruno Favaretto, Database/Website MFAH, Houston, Texas Developer, Base7, São Paulo, Brazil Tahía Rivero Ponte, Fundación Mercantil, Luz Muñoz-Rebolledo, Chief Digital Caracas, Venezuela Librarian/Cataloguer, ICAA Victor A. Sorell, Independent Scholar, Chicago, Illinois 1 INTRODUCTION Beatriz R. Olivetti This fourth edition of the ICAA Documents Project Working Papers The historical role of artistic collaboration is also the focus of highlights two winning essays of the Peter C. Marzio Award for the essay by Paola Uribe. Her work focuses on the creation of the Outstanding Research in 20th-Century Latin American and Latino mural Retrato de la burguesía (1939–40) at the Sindicato Mexicano Art: “Contrabienal: Redefining Latin American Art and Identity in de Electricistas (SME) building, in Ciudad de México, by Mexican 1970s New York,” by Aimé Iglesias Lukin, and “Retrato de la bur- muralist David Alfaro Siqueiros (1896–1974), Valencian Josep Renau guesía o el impulso gráfico dinámico en la plástica monumental,” [Berenguer] (1907–1982), and a group of international artists living by Paola Uribe. In honoring the late Peter C. Marzio, the director in Mexico in the late 1930s. Uribe aptly documents their use of of the Museum of Fine Arts, Houston (1982–2010), who supported the mass media, synthetic materials, and mechanic tools in achieving founding of the International Center for the Arts of the Americas in the impressive visual effects of Retrato de la burguesía, and she 2001, the award aims to promote, enable, recognize, and reward new also reflects on the experimentation and technical innovation scholarship in the field. Chosen by a jury of distinguished scholars, that sprung from Siqueiros and Renau’s joint effort. these essays draw from the primary and critical resources avail- The ICAA is delighted to feature both essays as part of the able through the Documents of 20th-Century Latin American and Latino Art digital archive. Documents Project Working Papers series and is proud to provide researchers around the world with a key and continually The politics of regionalism is at play as a factor of group identifica- expanding platform for accessing the growing body of knowl- tion in Aimé Iglesias Lukin’s work on the controversial catalogue edge on the field of Latin American and Latino art. Contrabienal (1971), produced by a group of Latin American artists active in New York during the early 1970s. In her essay, Lukin traces and analyzes the activities of the two main groups—the Museo Latinoamericano and Movimiento por la Independencia Cultural de Latino América (MICLA) and the Center for Inter-American Relations (CIAR, today the Americas Society)—which coalesced around the publication, framing their activities within a moment of intersection between Latin American artists who embraced conceptualist artistic practices and those who were starting to adopt identity politics into their work. Lukin’s essay also includes transcripts of interviews she conducted with César Paternosto (Argentinean, b. 1931) and Luis Camnitzer (Uruguayan, b. 1937), two significant artists involved in Contrabienal. 2 CONTRABIENAL: REDEFINING LATIN AMERICAN ART AND IDENTITY IN 1970S NEW YORK These Latin American artists arrived in a New York art scene that 10 Aimé Iglesias Lukin was undergoing important changes. A younger generation was experimenting with new media and was using happenings and per- formances to question the disciplinary boundaries around traditional painting and sculpture. They quickly began diving into Manhattan’s existing art and intellectual scene, which was, in itself, undergoing significant transformations as it incorporated a growing number of international cultural émigrés. Minujín, for example, became deeply In 1971, a group of Latin involved with Wolf Vostell’s and Andy Warhol’s social circles. Jaime American artists living in New Davidovich was in contact with the artists of Leo Castelli’s gallery York published Contrabienal and later worked with George Maciunas, even living in the Fluxus to promote an international housing project for years.11 César Paternosto and Alejandro Puente boycott of the XI São Paulo became friends and neighbors of Lucy Lippard, introduced to her by Biennial, which was to be Sol Lewitt.12 Indeed, 1960s New York was a space of rapidly increas- held between September 4 Figure 3 Movimiento por la Independencia Cultural de Latinoamérica (MICLA), “Manifiesto por ing network density and expansion, much of which was facilitated and November 15, 1971, in la Independencia Cultural de Latinoamérica. MICLA,” in Contrabienal (New York), 1971, private archives of Luis Camnitzer, New York. ICAA Record ID 766001. and sometimes orchestrated by cultural agents and institutions protest of the spiraling pressing for these connections to take place.13 censorship and torture in Nonetheless, the book crystallized an ideologically and regionally- dictatorial Brazil (figures 1–2). defined group consciousness. At the same time, Contrabienal’s Center for Inter-American Relations One outcome of this collec- publication coincided with a moment in Latin American art when many The representational spaces that opened up to the Latin American tive endeavor was the of the participating artists and organizers in particular were shifting artists settling in the city were centralized in one institution
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