The Incomplete Glossary of Sources of Latin American Art Periódico Paulo Herkenhoff Permanente.

Nº 9 abril 2021

To be continued... Latin american puzzle - 1998. Vinil adesivo sobre recortes de espuma vinílica - 128 peças - 40 x 50 cm cada

ACID. Toxic substance used to produce intense ecstasy among a cer- tain type of graphic artist, leading to dissociation symptoms (from the ideas of print and art), conservative aesthetics and an anesthe- sia of visual effect. It is broadly used in Latin America. Sometimes the graphic technical process is described as “kitchen,” a deprecat- ing and discriminatory use of this word that indicates the domestic place traditionally ascribed to the feminine universe in the region. (See also SEX, DRUGS and ROCK’N ROLL.)

ADVERSITY. “Da adversidade vivemos” (Hélio Oiticica) “Of adversity, pág 1/59 we live”. pág 2/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 AIRPORTS AFRICA Assis). Personal qualities and the challenges of the social structure Assis). structure Personal challenges of the social and the qualities people, of three sensibility the culture, Brazilian In Afro-Brazilians. Jose de Nunes Mauricio, Garcia) (Machado major the and writer The mode of absorption and conflict in Latin America defined differ America defined in Latin mode The of absorption conflict and BRASILIDADE PEARLS years to be shown by a Brazilian, Anita Malfatti in 1917 in (See WOMEN Malfatti Anita years a Brazilian, by to shown be who would call themselves accountwho for: would best mulattoes, baroque the call whether it is Native, Afro, Spanish, Portuguese, whatever. Spanish, whether it is Native, Afro, coun The would have no social ground. Cuban José Bedia, who has been initi who has would Cuban José ground. have Bedia, no social (Bitti, Alesio and Medoro) Alesio and (Bitti, (Simon Mexico and Pereyns). It took some Bedia, Ricardo Brey, Ricardo Belkis-Ayon.Bedia, photography The of Cravo Neto Portugal since 1710.Portugal Impressionism years to arrive took about twenty Marxist social organization, has witnessed the richest the most and witnessed com has organization, social Marxist One should note since Revolution the that under Cuba, materialist Other. The Afro-Brazilian cults have created “white” orixas them have cults created “white” orixas Other. Afro-Brazilian The under another ethical model, with the identification of the identification the of Negroes model, with under another ethical hand, in Latin America the ethnic differences (see ethnic the America Latin in hand, model where society is divided in equal and separate entities separate and built equal in model is divided where society igrated by an accusation such as “white people who think they’re people accusationsuch “white an by who as igrated think individualistic appropriations. Bedia deals with the conflicts and and conflicts the with deals Bedia appropriations. individualistic many Latin Americans (See SUGAR Americans Latin many in Brazil with Castagneto, whereas Expressionism Castagneto, took some with ten Brazil in black” Games Ledbetter). Unless homologation, such assertions assertions such homologation, Unless Ledbetter). Games black” business shortened.trends. Time and has It of styles took a almost groups by ethnic colour classification between degrees popular the try would not tolerate Velosotry amusician it Caetano if like were den of heritage, ofthere exchange sociability is and a different standard the Other’’ or narrowing or distorting the self-representation the or distorting or narrowing Other’’ the of the er of the 19th century and musician to the Imperial Chapel (Father Chapel musician and Imperial to the er century of 19th the (Aleijadinho), of Americas the compossculpture most the important were others closed of were art while manifestations open to certain seen as individuals operating with collective symbols and not with not and with symbols collective with operating individuals seen as Other, the are selves. word with since The artists here alliance is the of consciousness, (Seeent including degrees types and terminology on of ground exploited the the Therefore, classes. America Latin in decades for Pozzo’s of church ideas roofs paintings on perspective to Ecuador in painters of first of the colonization for setting century the spirits which inhabit the ancestral body. ancestral the inhabit which spirits ap their being image the of orixas, the construction the like be can of Brazil and Cuba, which allows no thought space to any allows of which “use Cuba, and of of Brazil plex art related to the Afro religious related heritage.plex Afro to Following the ex art Lam the encounters of many perspectives the scene the in of Americas. the parition. Light and the affective gaze of photographer the gaze constrain Light affective the and parition. are given as factors that led accomplishments. to their that factors other as the given On are descendants. Since times Colonial group the of African within and ample, others should mentioned: be Manuel Mendieta, Mendive, Ana ated in Afro-Cuban rites, and Brazilian Cravo Neto, not, act who has Brazilian and rites, Afro-Cuban ated in arrive in Rio de (1737), Janeiro, Rio in Brazil arrive been used in had they while . Many Africas were transposed in the diaspora and created and diaspora the were in transposed Africas . Many ). Social conflict resulted from forms of discrimination—like resultedfrom conflict discrimination—like forms of ). Social . In the exchange of art, they have replaced they ships the in exchange the of art, . In ) are not dealt with as simply as in the North American American North the simply in as as not) are dealt with ), in the past and contemporarily. and past ), the in DIFFERENCE and and ). ). ------pág 3/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 AMERICA ARGENTINIDAD ANTROPOFAGIA ANARCHISM America). LATIN See AMERICA To ``Nuestra America Latin America’’ (Our leave some clear call this The Venezuelan critic Rina Carvajal mentions that the Argentinean mentions Argentinean the that Venezuelan Carvajal The Rina critic was usually created in each country after the initial expansion of expansion initial the after created country each in usually was Cachuchas’’ groupwhen “Los (1923). she leader of anarchist was the whereas the Monroe Doctrine was usually a unilateral application. aunilateral usually was whereas Monroe the Doctrine venerate the capacity of the Argentinean spirit, but intend spirit, they to of Argentinean venerate the capacity the colour. local in abounding without (...) propose to nationalists The where spite in of absence the of one camels, would it as not claim (1938), Breton the Diego Andre condemned and Rivera Soviet, the Monroe Doctrine, the U.S the Doctrine, Monroe Quite often anarchism has served as a preparatory stage to other apreparatory en as served has anarchism often Quite Ships were safer, and faster more boats frequent, were trips cheaper States, the term has a double has term States, for the for nation it the stands meaning: more balanced traffic. more traffic. balanced gagements with socialism, especially the Communist Party, which which Communist Party, the especially socialism, gagements with has the pragmatic meaning of western the continent, meaning when, under pragmatic the the has honor Vespucci, Amerigo of navigator the from Italy, who was a his signature substituted for signature his Rivera’s (See text. DICTATORSHIP this in regarding art. They argued for a socialist organization of produc the organization for asocialist argued They art. regarding ism. In Latin America it is a univocal term meaning the New World, the meaning term it is aunivocal America Latin ism. In not being Arab: “I believe that we, the Argentineans, could resem we, Argentineans, believe the not that “I Arab: being colour To demand of poetry. local in nationalistic to the ring deal limit the poetical exercise spirit to some themes, of this poor local poetical the limit their own country G.e., the United G.e., the States country of America). own their However this ble Mahomet, we could believe in the possibility ofble we Argentines being could possibility Mahomet, the believe in tive forces together with an anarchist regime of regime freedom for forcestive anarchist individu an together with thors as Nietzsche and through his career he career Nietzsche wouldthors his as show through and agrowing tancias’’ and not and abouttancias’’ universe” the RHETORIC (See EVERYTHING formed her in adolescent School years Preparatory National at the fascist and the neutral (“Neither neutral or...) the and communist” fascist fascist positions country which has not been involved with colonization. In the United the colonization. not In has been involved which with country of Brazil. At the age of fourteen the artist had already read such au already had age the At of artist fourteen the of Brazil. leader major the anarchist was grandfather His fundamentals. chist plane and satellite. The speed has changed and when Latin American American when changed and Latin satellite. has speed plane and The problematically with the subject, the of Koran example he the the brings problematically with art is (See more known art SECRET exchange more international and intense. Now ideas travel air by and and any trace of ruling”). It is said that for tactical reasons Trotsky for It that is had tactical said of ruling”). trace any creation (“Not authority, any not intellectual not constrictions, al any awareness of the libertarian character of art (See of BANDITS art character awareness of libertarian the work the on of based anar Hélio Brazil, was In Oiticica anarchism. as if the Argentineans could speak only about villages and “es and about only could speak villages Argentineans the if as LIBERTY . A plurivocal geographic denomination of. Aplurivocal acontinent, in . In the text “For an Independent, Revolutionary Art’’ “For text the Independent,. In Art’’ an Revolutionary ). The radical attitude of Frida Kahlo might have might been of Frida Kahlo attitude radical ). The . “It is amistake”, says Jorge Luis Borges refer in . (see CANNIBALISM . came to Big use the . came Stick of intervention . ) ideas might travel both ways in a ) ideas in ways travel might both ) ). ). ). ). ------pág 4/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Banana Republics’’“Banana (as oli corrupt of local apost-Colonial alliance ASIA BANANA BACON were artists with a distorted painterly pathology of art as sliced flesh as of painterly art adistorted pathology with were artists Borges’s concept of problematic Argentinidad beyond the national the beyond Argentinidad problematic Borges’s of concept Brazilian Modernism was very dependent on bananas, while 19th 19th while dependent very Modernism was on bananas, Brazilian It was introduced in America in the 16th century- In popular cul popular In century- 16th the in introduced America It in was Siron Franco (1970’s),Brazilian or Venezuelan Rodriguez. Alirio avalue became Zen period, postFreudian war the connotations. In Livio Abramo’sLivio anthropophagous early woodblock period In prints. New York, Anita Malfatti presents, Tropical her in New canvas York, (€c.1917), Malfatti Anita and JAPAN CHINA and also See up or hung with string, or cut with forks or knives) cut and with string, up ametaphor or as hung with guage”. Kuitca, dealing with Western history,guage”. and shares with ture cul dealing Kuitca, joyful impressionistic landscape of a banana plantation with acer with impressionistic plantation of abanana landscape joyful istic fatality and the national mask. mask. national the and fatality istic garchies, either civilian or military, with foreign interests with pres and or military, eithergarchies, civilian from returning after she Brazil in that made paintings important labour and the inventive results (Artisan social model to social approach inventive the and labour results (Artisan Schemberg) (e.g. or (Mario criticism art Schendel).in Mira the In by Hélio Oiticica in his CRELAZER Hélioby his in Oiticica ture it has a very broad Cerotic, of set depreciative, meanings avery it etc.). has ture technique of papermaking. He developed a social geometry that con that He developed geometry technique of papermaking. asocial truthful portrait, in spite of some efforts of modernization in certain spite in certain of in of some modernization efforts portrait, truthful of anthropophagous Tarsila landscape the dwell native bodies in tal (Seetwenties CANNIBALISM post-cubist character.tain “Anthropofagia’’ the special In of late the Brazil’’, in modern art theme is focused within national the that time the late sixties, Brazilian Antonio Henrique Amaral, after his Pop his after Henrique Antonio Amaral, Brazilian late sixties, the lan visual acontemporary and aesthetic international seeks an dition, but comes within the context of an urban environment that environment that urban context of the an butdition, comes within siders the history and technology of the material, the organization of organization the of material, the technology siders and history the went fibersseventies, Dias Antonio lokti to the Nepal to work with societies ofsocieties continent. the his after Right Batista. Rossetti biographer Marta says Malfatti’s for the dark political times of the prevailing dictatorship of torture dictatorship of torture of prevailing the times for political dark the Silva) Academicism Estevao (Agostinho and José Motta da century or meat, sometimes). leader the Sbernini, for Bacon was Argentinean critically the organization of society and the place of art and artists). and of place art the and of society organization the critically ently with Unitedfinds States a interventionism) with ently morbidyet finally (since 1923). do ANegra, Amaral in appear leaves same These will to Brazil (1923),introduced immigration a Segall definitive Lasar departure, slowly moved to a hyper realistic amplification of banan slowly amplification moved realistic departure, to a hyper preferred watermelons (See WATERMELON (See watermelons preferred painter Guillermo Kuitca is not autochthonous Guillermo painter inspired an by tra a basket of fruits from bananas to pineapple. “It is certainly the first first the to pineapple. from bananas “Ita basket is certainly of fruits and murder.and countries as American of Latin negative symbolism The tied being operations (like submitted being are to which painful as . The Nirvana principle was taken from the Oriental philosophy Oriental from the principle taken was Nirvana . The . Francis Bacon produced bacon all over Latin America. They They . Francis Bacon produced over America. Latin bacon all . Plant originally from Asia, from the family of Musaceae. the family from the from Asia, . Plant originally . ), large banana-tree leaves with vege leaves), banana-tree large with proposition (see TOYS proposition ). In one). few In of very the ), with the the ), with ------pág 5/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Missao/Missoes, How to Build Cathedrals’’ deals with the baroque the with deals How Cathedrals’’ to Build “Missao/Missoes, Jorge Helft, with a book about oriental art he “Splendid, said: a book about many art Jorge oriental with Helft, Xul around 1950”.Xul collector presented, he was Argentinian by When OPACITY BAROQUE BANDITS BLINDNESS vision, the artist dislocates work his self-awareness to the artist the vision, of percep Portocarrero) of baroque, Cuban rediscovery the the who of made a Infamy, Jorge would baroque “I the Luis Borges is say that writes, Oiticica made abox made Bólide,Oiticica “Homage de Caballo’’ (1966) to Cara in ism and imagery. Alejo Carpentier said that it was the generation the it was that said of ism imagery. and Carpentier Alejo common the formal superficiality, of ground trite rather than limits, how, question the should then awareness the the be and of meanings this Within culture. roque been asource has for American Latin ists in Brazil like Lygia Pape, like Alphonsus Manuel Antonio Luiz Brazil and ists in repressive offers no that hope art dispossessed. to Other the society revolt but never of ameans oppression”. as a with is dealing Oiticica work He this said reflects honor friend. personal and bandit of this its agents’ ‘, Justo says critic Pastor Mellado (1992). Hélio Brazilian malism of baroque modernist mostmalism and of ap contemporary the of baroque therefore and strategy ic the he and questions for the in aconferencein of lostaspectator “I vision as about the Solar: Xul aBraille’s of in to Brancusi, the as reading sculpture, the standard in (“Postmodern”rary ...), exploitation now as (See we what name can the forties (Wifredo Lam, Amelia Pelaez, Mariano Rodrigues, Rene Rodrigues, Pelaez, Mariano Amelia Lam, (Wifredo forties the that style which deliberately which (what style exhausts itthat to wishes exhaust) its prologue the In of of 1954 the tries. Universal of edition The History in hat, his projected the hero are thiewes shadow with of civic the tion. Caldas dislocates of crisis perception the erotic Caldas fromtion. the touch exuberant vegetation, as in the work the sense, vegetation, in exuberant as such of Pelaez. this an In of amalefactor?”. of where us, I should death forsearch the reason the itwhy is ailing (1964):chronicle “Mineirinho” Yearsequilibrium. Lispector published Clarice before, writer her the dis index of social an as marginality followed idea the of unlawful condition. other words: In social as a violenceof means is justified thanks. Even though blind, I will see To it. Even Iwill though blind, accident”. is an thanks. blind be dits with their sombreros are taken as shadows. “Because the Chilean sombreros their Chilean the shadows. “Because as with dits taken are dating of “Missoes’’.dating either be It Baroque) Colonial can or contempo object by Brazilian Waltercio Caldas. Instead of dealing with physical Waltercio with of dealing Instead object Brazilian by Caldas. potential baroquism in the environment from a stylistic mix into an into an mix environment from astylistic the baroquism in potential possibilities and that hinders its own caricature”. hinderspossibilities its own that Cildo and Meireles in propriations. The use of undated material dissolves the historical dissolvespropriations. use historical of the material The undated He approaches style. the but rhetoric,period, not the eth with the purely phenomenological approach. In 1989, Jorge Luis Borges said said Borges Luis Jorge 1989, In approach. phenomenological purely analysis could be made for most, if not for all, Latin American coun American could for made be Latin not most, if analysis for all, revolt every moment, against a decisive “an individual ethical and the theof republicanunconsciouspolicy a negative way, in figuring Is “Yes, one myself, as of representatives Isuppose the it is within and CHINA and . In the workimages Eugenio of the ban . In of Dittborn, Chilean . The question. The but is not if, rather tohow, assert ba the . “You (1972) blind” are provocative is the on inscription an ). ). ------pág 6/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Abaporu (1928) by Tarsila do Amaral states that only cannibalism (1928)Abaporu cannibalism only states that Tarsila by do Amaral James Joyce”(1980). breads from she case, used 5,000 latter the In CANNIBALISM BOOKS BODY PHILOSOPHY worked with the idea of abandonment as a social strategy of occu ideaworked the of strategy abandonment with asocial as (1913). derived be from such of can books entries as importance The (1972), bread the who and made collaboration the of apeasant, with (= Antropofago’’ (Cannibalist 1928 cannibalism). “Manifesto The He left groups of loaves, tied with red string in dramatic spots: in dramatic in groupsHe red left string of loaves, with tied Edmond Downes, the bakery mentioned bakery Joyce the by Edmond Downes, Dubliners. in In Manifesto) by poet Oswald de Andrade, taken from the painting painting from the taken deManifesto) Andrade, Oswald poet by ural and artificial, urban and rural, etc.). therural, for and homocalls urban He faber, artificial, and ural unites Brazilians socially, economically and philosophically. The law law The philosophically. and economically socially, Brazilians unites in republican America, letters and industry come from all great great come from all industry and letters republicanin America, (...) conserved has Spain migrant. America colonial in Whereas gains the character of condensed energy with Barrio in Brazil (1970). Brazil in Barrio of condensed with character the energy gains gave signs of the opposition it public. to the (nat Grippo articulates metaphorical image of the book: “No book “No (see of book: metaphorical image the assumes from the life separation ideas, their arbitrary with nected made an “Obelisk an made (1979) of Sweet Bread” “Tower the and Bread of ona on bench amoundlandscapes, aroad, by ariver, by Barrio etc. humanist manner in dealing with the symbol of bread. In his em his of bread. In symbol the with dealing in manner humanist into a barbarian pattern against the oppressive the against pattern censorshipinto of a barbarian civiliza model is transformed possibilities. primitivist and The new meanings would open be to influence, devour culture digest any to national it for scene. noit longer international A was the enough with to update art the monopolythe of spite ideas in of slow the European infiltrations; broidery piece “The Bread” (1991), Bread” broidery piece “The pre the announced has Leonilson time a rupture with what is public enthroned what the in consciousness”, with arupture time to eaten)the be which same is at conveys which a“demystification, former,the Minujin recreates monument central the of Buenos Aires tinent of dualities, of plenty and scarceness, of and plenty theretinent of is dualities, apredominant tion. Andrade advocates the permanent transformation of taboo into of taboo transformation permanent advocates the Andrade tion. nations’’,exporter Calderon Francisco Garcia Peruvian the said tation of canned consciousness. In this stage of Brazilian modernism, modernism, consciousness. oftation stage of canned Brazilian this In says Jorge Glusberg. Still in Argentina, Victor Grippo dealt with the the says Victor Jorge Grippo dealt with Glusberg. Argentina, in Still is (bread is derived of politics from material the character structive source for a modern theory of cultural absorption: “Antropofagia’’source of for cultural amodern theory temple surrounded words: by of bread aheart as ruins, cious quality either alchemy orin quest industry, his in for consciousness. a con In of murderous by corpses left police) to provoke tension curious in of the man-eater indicates an interest in Otherness, unlike the impor the interest unlike indicatesof an man-eater Otherness, the in passersby. (See THIRDWORLDLINESS pation/definition Before,of space. bloody packs he left (reminiscent production of this energy by building a brick oven, “The Bread Oven” abrick oven, “The building by production energy of this provided Brazilian artists and writers of the 20th century with a with century of 20th the writers and artists provided Brazilian and makes it makes ofand consumable her inhabitants city. the decon by The and fisherand pearls. of . O corpo é o motor da obra. (The Body is the motor is the Body of work). éomotor the . Ocorpo (The obra. da . “To ideal im the foreign the book is aggregated, the blood, and WORDS and . The indigenous cultural pattern of cannibalism has has of cannibalism pattern indigenous. The cultural . Yet when certain cultural artifices are con artifices . Yet cultural when certain ). Argentinian Marta Minujin Marta ). Argentinian KODAK ). Yet bread re ------pág 7/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “The Carnival in Rio is the religious is the of race”, Rio happening the in poet said Carnival “The Time is “never finished and is constantly changing” in the in work Timeof is “never changing” and is constantly finished CARNIVAL CARTOGRAPHIES ventional and unifying symbol of a nation, subjected of ma anation, symbol to political ventional unifying and values. The perpetuation of Mercator’s topographical conventions conventions Mercator’s of topographical perpetuation The values. with hegemonies and marginality. The painting of Guillermo Kuitca of Guillermo painting The hegemonieswith marginality. and Lasar Segall, Tarsila do Amaral, Di Cavalcanti and Oswald Goeldi Goeldi Oswald and Cavalcanti Di Tarsila Segall, do Amaral, Lasar Edouard Manet in 1849. “Le carnaval se passe d’une manière assez se d’une assez passe manière 1849. carnaval in “Le Manet Edouard to transform opportunity the Kuitca has then Carvajal). Kuitca (Rina Milhaud arrived in Rio, where he lived for three years, on a Carnival where Rio, in he on for years, lived aCarnival three arrived Milhaud Oswald de Andrade in his “Manifesto Pau-Brasil” (1924), “Manifesto his in de Andrade first Oswald his finds in Picabia’s cannibalism. In Brazil, thePicabia’sin finds In Brazil, project” “Antropofagia cannibalism. nography as a point of departure, Hélio took Oiticica mulnography from the apoint of as departure, ingly transitional and challenged by the awareness the by challenged and of Otherness. the transitional ingly theirreducible ofspace of doubt fluidity and quest, of a worldglow major set of ideas for a theory of Brazilian culture. It was an aesthetic aesthetic an It was culture. major of set of ideas Brazilian for atheory of prism. the action into crystalline the mirror Fornipulation. Borges map (in the “Del rigor de ciencia”) la offered geographic borders or any boundary between the realms of artis realms the between geographic borders boundary or any (see mirror the ing ESPEJISMO image quotations. quotations. image meanings from culture to the fantasmatic. Their function is invert function Their fantasmatic. to the from culture meanings nocent. The maps of Anna Bella Geiger register cultural domination domination Geiger Bella register cultural nocent. maps of Anna The has both historical and Sonic Dupouy validity. It is a dialectic meth It Sonic Dupouy and is validity. a dialectic historical both has body presence and perception, social marginality and tradition were tradition and presencebody marginality perception, and social tisensory character of carnival the fundamentals for his art. Leisure for art. his fundamentals the of carnival character tisensory tural tradition, provided the tropical setting and the cosmopolitan the cir and setting provided tropical the tradition, tural passive from the possibilities Borges the map,the in of tradition, the of adjusting metaphor to reality, whereas Torres actuality the Garcia knowledge of rational for failure of the substituting possibility the found in Rio and nowhere else, the plurivocal city. Setting aside nowhere and found ico Rio city. in else, Setting plurivocal the transiency of a they confirm pointas no maps fix The languages. tic erence to the controversial social reality, rather than the flag, a con flag, erence the controversial to reality, the rather than social culation of ideas, and was a national symbol as the country’s the as capital. symbol anational of was ideas, and culation totem. References to Freud precedent the indicate Surrealism and he day. Brazilian popular music compositions. popular day. would future his inhabit Brazilian drôle; je m’en comme tout acteur”. et suis vu le monde Darius victime Ited. is no longer adescription. Kuitca operates revelation the of the ers and musicians, no matter where they lived. Iters musicians, where and no bore lived. matter of evidence they the writ artists, for Brazilian city modernist national de the Janeiro was “Wagner which would in of submerge”. Rio’scharacter carnival, Rio sense of colour. apopular with observation He operatic the observed od which is far deeper than the superficial postmodern postmodern principle of superficial the deeper than is far which od dancer (Bausch)dancer Beatles), English or song an the (The overflowing (Eisenstein), sources, on from aRussiandraws many film German a past (baroque architecture) and the ethnic component architecture) ethnic (baroque past the current cul and in inversion the practices of map (1936), the intention the of break with and desire, physical structure and visual language, music language, dance, and visual and desire,and physical structure and distortions, in ascience in developed distortions, and Conquest, the by not are in . “Le Carnaval de Rio est un cachet tout particulier” wrote wrote tout cachet est de un Rio particulier” Carnaval . “Le . Artists in Latin America have aref used maps as America Latin in . Artists ) in a return to Latin America’s to Latin areturn ) in own ------pág 8/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Against reducing Che Guevara to a neutralized iconographic reducing image to a neutralized Che Guevara Against Tozzi reduced to was media Manuel. Antonio mass by Guevara and COLONIALISM, EROTICISM COLONIALISM, CENSORSHIP CHANGE CHE The Argentinian Léa Lublin presented Léa 1962 in Argentinian objectThe the “Ver Claro” CHINA which is a cape neither is acape which nor to shown be simply nor worn, body is the wipers). Lublin’s In piece Cuban Revolution the is presented within Industry and communication technology have communication imposed technology and changes and Industry Fontana, “Manifesto Blanco”,Fontana, “Manifesto Buenos 1946). Aires, (See Clearly - historical myths of fighters for liberty, with windshield of fighterswith (Seeliberty,for myths -historical Clearly Labour, no longer acommodity, being should game, and become art Especially the Jesuits the Franciscans) and Especially introduced influences such Brazil with the possibility of Chinese influence in both direct and in and direct both in influence of Chinese possibility the with Brazil fines the as andand fines the plot con floats, designs costumes of a parade new kind of visual artist has appeared: the “carnavalesco”, appeared: the has artist who de of visual new kind theredefined. Consequently,aspect and operatic been refined has a new culture of socialism and communism. For and sense the of socialism new culture Guevara, ral spiritual reproduction, the existing violent circumstances and and violent circumstances reproduction, existing the spiritual ral ra jamás”,ra ended which adissolution as thought. revolutionary of his ipant (See OTHER tive levels. Changing people into a New Man was necessary for the necessary people was into levels. aNew Man tive Changing metteur-en-scène. plastic and ceptual metaphor of consciousness. consciousness. of metaphor concept a of as ideology alludes Marxist to Clearly” the “See liberty. the consciousthe creation to of live. and to new ways produce, to think of carnival aspect de Janeiro, Rio visual In the challenges to carnival. Contemporary recording art. ofcontributions his character to the specificity of culture and its passage through individual and subjecandindividual through passageits culture of specificity aworldwide as circulation with America, created Latin in symbol of cultural change involved of apparently separation the natu the of cultural says Esther Perez. As an icon, the figure of Che Guevara appears, saysChefor appears, Estherof Perez. icon, figure Guevara the an As tion” Swearing and dancing), an action-structure. The “Parangolés’’ The tion” action-structure. dancing), and an Swearing It “in-corpora is apassive rather an as supportto taken be of art. one que “Hay single phrase: endurecerse, pero perder sin ternu la Claudio Brazilians and work the Martinez in example, of Cuban Raul energy in “ in energy Hélio reintroduces Oiticica ideaor the Brazilian asingle of phrase, dissolves the dissociative idea of art and spectator to spectator partic let and the ideadissolves dissociative of the art direct ways, like in furniture. In colonial times, the religious the orders times, colonial In furniture. in like ways, direct an as standing glass, The distortion. level of reality super-structural an iconan utopia for social (see as dragons (Rio de Janeiro) and pagodas (Minas Gerais in baroque in Gerais de Janeiro) dragons (Rio as (Minas pagodas and actual “veil of ideology”, is cleaned like a regular car windshield, as a as windshield, of “veil ideology”, car aregular is cleaned like actual but asoldier of Che is not amyth, comic, allows. a three-dimensional of work, the like character process, narrative the which historical an . The revolutionary Che Guevara (1928-1967) Che Guevara revolutionary . The Pop only the was . Throughout the century international trade has provided has trade international . Throughout century the . “Change is the essential condition essential is. “Change the of existence” Lucio GUE VALUTA GUE . See different forms of censorship in cannibalism, different. See forms of censorship cannibalism, in ) emerge as a totality of energy and symbolism. symbolism. and of energy ) emerge atotality as ” (Guevara Struggle). is a“parangolé”, This , TORTURE UTOPIA ). Che Guevara recognized the the recognized ). Che Guevara and WOMEN and . ------pág 9/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 American artists used it as a political symbol of imperialism. In Brazil, Brazil, In of imperialism. symbol used it apolitical as artists American According to Paulo Venancio), movement as or appearance, with and Who Does Not Fly” (1977), Does Not Fly” Who wherethe con perception floatsbetween Wifredo Lam, of African-Chinese origin, has produced a visual the produced has avisual origin, of African-Chinese Lam, Wifredo COCA COLA COCA CLASSICISM CONTINENTALISM CIRCULARITY with the baroque to reconstruct a critical history. painter Cuba, In baroque the acritical to reconstruct with Brazil, critic Ronaldo approached Brito of critic has Sergio sculpture the Brazil, Landi, who arrived in Belém, in the Amazon, in 1750. in Academy The Amazon, the Belém, in in who arrived Landi, Manuel dealt with the accumulation of empty bottles, by substituting substituting by bottles, of empty accumulation the Manuel dealt with Cola was a Pop symbol of the American liberal democracy, liberal Latin aPopCola of American was the symbol Camargo by noting its noting by “AristotelianCamargo tonus”. encounter artists These Chile with sculptor Virginio Arias. The contemporary approach contemporary The to Arias. sculptor Virginio with Chile urine for Coca Cola and Anna Bella Geiger situated the bottle in the the in Geiger Bella bottle situated the for Cola Anna Coca urine and in 1970,in Cildo of motto Meireles the the Cola Coca bottles, printed in Giuseppe Antonio architect of Italian the hands the jungle through landscapes of mountains, colonial churches colonial oflandscapes mountains, fog manner and the in ical circuit and process of production. Brazilian artists like Antonio Antonio like artists process and circuit ofical production. Brazilian lic mythologies. Brazilian Iole her sheets de of Freitas, metal, with Brazilian mythologies. lic recon and gravity) fall, (fragmentation, deconstruction movement: formation to the of Peru, led Calderon Franciscoimmigration Garcia ments together or porcelain of citations of Chinese roll paintings between Latin America and the U.S. Whereas for Warhol, U.S. the Whereas and America Coca Latin between boundaries. They clarify its (im)possibilities. suspicious are clarify They They ofboundaries. the Measure and of all certainty. certainty. Measure ofthe and all Ferreira, of Palliére Leon or paintings in the in foundbe Brazil in tradictions of the laws of physics and the aerodynamics of forms. In of forms. In of laws of the physics aerodynamics the and tradictions this author).this been has of continuous Icarus The interest myth the in According to of “robe the character mouillée” type structural the “draperie” with dealing oftouches sculpture, tradition classical the atwo-way Minujin with deals Marta of Argentinian classicthe art to propose (1913) Indian-Afro-Chinese-Iberian called be country the of American imperialism in Latin America and a denial of difference adenial and America Latin in imperialism of American his organized century, Guignard or paintings).sculpture 20th the In decade “Yankees Go Home’’ as a guerrilla intervention in an ideolog an intervention in “Yankeesdecade Home’’ Go aguerrilla as do not take perfection as a canon, but acanon, rather as cudgeldo ideal to not perfection its take this elsewhere,of as Socrates’ they idea of America, Beauty. Latin In “Venus the (like of pub Cheese”) of ameans disturbing struction as subverted in Brazil by painter Katie van Scherpenberg with the use the Scherpenberg with van Katie painter by subverted Brazil in work. strong his contribution in The of Chinese of orixas the saurus heritage using by Chinese frag visual cludes this her in paintings Varejao Currently, perspective. Adriana in vertical of Chinese the chitecture of Grandjean de can Montigny.chitecture classic mythology The deof Janeiro Rio spread such neoclassicism ar designs the as with of false perspective and Waltercio Caldas, with the object “The One object the “The Waltercio and perspective with of false Caldas, people, “progenitory the if races’’ were to indicated. be a classical ideal in their investigation of perfection and not investigation and search of their in perfection ideal in a classical . In the sixties and seventies and negative icon Cola Coca wasa sixties the . In . In Brazil, the first traces of neoclassicism arrived in the in traces of arrived neoclassicism first the Brazil, . In . See TIME . See . and, for cultural geography, for and, cultural see ------pág 10/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Antonio Caro writes the name of his country (Colombia) country of his name the writes Caro Antonio tradi the in COFFEE COCAINE COLD WAR COLD where is oriented gaze smell by (see ODOUR with the symbolic transformation of materiality (see ESCHATOLOGY of materiality transformation symbolic the with ways, including through the art market. Some art sociologists and Some market. art art the including through ways, vention country, his such forced in the in as of separation Panama (chapter X). It was mostly agricultural capital from coffee that, in gen in from coffee that, capital (chapter agricultural mostly It was X). In 1992, to commemorate its 50th anniversary in Brazil, Coca Cola Coca Brazil, in to commemorate 1992, anniversary In its 50th In his effective “Crushed Coca Cola Bottle Bottled in Another Bottle Bottle Another in Bottled “Crushed Cola Coca Bottle effective his In 1903 to facilitate the construction of the Canal (See COCAINE of Canal the construction the 1903 to facilitate Claude Lévi-Strauss resumes Brazilian history in Tristes in history resumes TropiquesClaude Brazilian Lévi-Strauss liquid glass. crushedof the horrifying with thebottle fills Camnitzer ration on the walls of the building of the Ministry of Education in Rio, of Education Rio, in of Ministry the of building the ration on walls the “Coffee” Portinari’s ism was (1937),andlater a deco canvas as a first real herin decadence. social major and of muralism The translation may develop and, in some cases, it has caused death. The cocaine cocaine may develop The some caused death. it in has cases, and, regions. For chewed the Natives the centuries from Peru Bolivia and some in South American aplant farmed coca, leaves of Erythroxylon landscape with trash. With their work they were dealing politically work their were politically With they dealing trash. with landscape business is a source of income of population in for the broad parts to para o café. De amarelo, depois amarelo, De ocafé. to branco, negro”. se torna para oOuro So COLA COCA (See world art ternational reaches high, Colombia, artists like tries where price of the certain ties for what might have been the first neo-liberal exhibition in Brazil. in Brazil. forties exhibition have might what first neo-liberal been the fee to a perceptual game of senses the “Bolide Saco game 2Olfatico››,fee in to a perceptual forneciam combustível nas fornalhas—a Abolição da escravatura, escravatura, da Abolição combustívelforneciam fornalhas—a nas and drugs ideas the ofof Coca/Colombia, out pointing “traffic” the ared field. in letters white of Cola, He Coca blends calligraphy tional coffee produced comparatively little art: Portinari, Djanari, Malfatti Malfatti Djanari, Portinari, coffee produced art: comparatively little theme, in Sao As a Paulo.modernism Brazilian financed terms, eral enfim, uma procura mundial crescente uma procura mundial orientou enfim, São Paulo e seupor foi precedido, florestas minas das que de das resto, pela devastação escravos. consumia também Oesgotamentode oaçúcar acticar, mas round wouldfat, prices, not that correspond in the in place to their commissioned works, including artists from the sixties and seven and commissioned sixties from the works, including artists certain areas. The money from drug dealing is laundered in many is laundered many money dealing in The from drug areas. certain sounds: of along cocaine/CocaCola United in history States inter euphoria and pleasant auditory or visual hallucinations. Addiction Addiction hallucinations. visual or auditory pleasant and euphoria leaves.coca absorbed Cocaine, mucous the by membrane, atoxic has Luis Uruguayan the game, of Cola Coca ‘’, metalinguistic avisual police reports mention the actual addiction of the art market in coun market in of art the addiction mentionpolice reports actual the and others. Contemporarily,and of projected Oiticica cof symbolism the a project involved Corbusier, that Le Niemeyer Lucio Oscar Costa, are anesthesia and disappearance of fatigue, increased mental power, mental increased of fatigue, anesthesiaare disappearance and it produces effects the Among nervous system. on central the action . “Depois de se haver fartado de ouro,. “Depois de omundo se haver teve forma fartado . A fine white crystalline alkaloid powderthefrom alkaloid obtained crystalline white . Afine . Just confront DEPARTMENT ). ).

OF

STATE ). ). with ZHDANOVYCH with ). ). ). ). ------. pág 11/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 A crisis of colour finds a moral severity in the almost black andwhite almost theblack in ofA crisis colour a severity finds moral colour reductive architecture the constructive and through Amaral, Venezuelan excess approach the brings of an light as to blindness. The experience of visual bewilderment leads the gaze to the possibil to the gaze leads the bewilderment of experience visual The COLONIALISM COLOUR COMMUNICATION whereas Andean artists Szyszlo (Peru) Szyszlo (Ecuador) Viteri and artists artic whereas Andean with the landscapes of Pau-Brasil landscapes the the (1924), period with Tarsila by do (Brazil), among others. Apicturesque(Brazil), colour may descriptively de (1930) (1939). Ethnography and of light Here scarcity extreme the Rego Monteiro, with reference to Amazonian Marajo6 civilization, civilization, Rego Monteiro, Marajo6 reference with to Amazonian of Brazilian palette colour earthy the Archeological rules Brazil. Delson Uchoa in the Northeast, and Emmanuel Nassar in Amazonia. Amazonia. Delson Emmanuel in and Nassar Uchoa Northeast, the in Barthes, with his contribution of the application of Structuralism contribution his of application the with of Structuralism Barthes, Cruz Diez (Venezuela),Cruz Negret (Colombia), Weissmann Carvao and ulate historical colour other dolls fabrics, historical from sources and the ulate in ination”, Hélio said (1967). Oiticica to overcome It is up artist to the groups. In Brazil, the purification of the colourof systemfrom purification derived the Brazil, groups. In or Colombian the Rivera painter Mexican the in as from reality rive includes interpretation that an and referencesry to European only material culture and spiritual symbolism of the Incas and other and of Incas the symbolism spiritual and culture material in Reveron’sin scarceness the laysmatter. in of pictorial paintings The of light/colour antinomy The dimension night. day and like mentary ity of its own nullification. nullification. of its own ity the international circulation of art. Both the exclusion the Both from histo of art. circulation international the tion (sometimes touching question the of monochrome) the we may Westernthe of colour history could lead to such relationships clear the presentation the melancholic drama of urban night, amoral the in light is anguished The Goeldi. wood blockthe of prints Brazilian thesize a certain rural taste. In other areas, contemporary colour contemporary other areas, sen In taste. rural acertain thesize sculptor Botero. It can be emblematic, within national conventions conventions national within emblematic, be can It Botero. sculptor choices or optical quote of constructive colour con the cretist, still in sources forms are censorship. of colonialist to semiology, avoided the aridity of this field. In the studies of In field.to semiology, of this avoided aridity the scenario. The painful extreme of light is approached tropical extreme the by painful The scenario. opposition of somber the Reveron solar to Goeldi the acomple in Amazonian the in yet mythical, deof Janeiro Rio naturalistic, and recent the visibility, like work extreme orous of to guarantee efforts for more call might bright stridentsibility and combinations, vig as compositions Volpi and Tarsila by of naiveté anative do Amaral syn Volpiof Alfredo (1950/1970’s) of experience colour sensory the and postcolonialist aesthetics, in spite in of of in remnants colonialism aesthetics, postcolonialist the communication were influential to Latin American artists. Roland artists. American communication wereto Latin influential portraits of Mexican Siqueiros, such as The Proletarian Mother Siqueiros, of Mexican Proletarian such The as portraits popular culture established an anthropological dimension. It starts dimension. It established starts anthropological an culture popular and codes of tradition, like the orixas’ heraldic colours Cuba in orixas’ or the like codesand of tradition, tradi this Within or Mondrian. Malevich Sotoas or with Oiticica and colour induces a political judgment. Ethical severity also impels also colourand severity induces judgment. Ethical a political as space and materiality in Oiticica (1960›s). Oiticica in materiality space colour and harmonious as The . The undeniable alignment of Latin American artists with with artists American of undeniable Latin . The alignment . “Art dom is no longer of intellectual instrument an . In the sixties, two major aspects of the theory of of theory major the aspects two sixties, the . In ------pág 12/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Vargas regime in Brazil, or Guayasamin in Ecuador) in bourgeois to orthe Guayasamin Vargas Brazil, in regime Torres-Garcia developed a didactic work at the atelier (Asociación (Asociación atelier the at work didactic a developed Torres-Garcia idea can The of (constructive awidespread vontade will) construtiva CONTINENTALISM CONSTRUCTIVISM COMMUNIST PARTY Paulo, the studies of semiology in the University the Paulo, were in of studies semiology scholarly the the Castro, Pape and Oiticica, astudent of Pape former). the Oiticica, Castro, and exhibited Concreto-Invencion whose forties, artists the in Madi and Grippo, Gonzalez Mir, Marotta, Portillos; later additions were Portillos; Maler Mir,Grippo, Gonzalez Marotta, ulates maintain him in a position in which he can mold aposition he real in which can in everyday him maintain ulates illustrated with woodblock prints, that commented woodblock that life on prints, everyday with illustrated de cordel”, “literatura leaflets small looked traditional the towards mythic characters. Anna Maria Maiolino used the graphic structure structure graphic used the Maiolino Maria Anna characters. mythic heraldic and ic model images with developed constructed and highly in Rio de Janeiro Rio (1953),in Serpa the where(Ivan influenced scene they ground for the work of such artists as Julio Plaza and Regina Silveira, Silveira, forground Julio Regina work Plaza as and the of such artists São In rule. to produce and news military bitter images criticizing ity (...)ity thought and to social create and action transform and through right-wing populist power (like Niemeyer and Portinari during the the right-wing Niemeyer during power populist (like Portinari and works pretensions, the and litical moves involvement from the with ist. The CAYC The ist. to Latin America. The expansion of television in countries like Brazil of expansion Brazil television countries like The in America. to Latin to convey discussions about condition situation the feminine and the be synthetically demon strated. Upon his return to Uruguay, demon Upon return strated. his Joaquin synthetically be the concentricthe waves of man’s powers The he life. which manip daily medium to disseminate of cordel, the atraditional character as tive times clashing influences on the art of Latin America ZHDANOV (See of Latin influencesart the clashing on times the influence of the Italian Communist Party. The ambiguity po of ambiguity The Communist Party. the influencethe of Italian fronted with underdevelopment (See T.V underdevelopment with fronted is con and meets economic culture, marginality rural clashes with alsoextended McLuhan influence the Marshall communication, of the problem of communication dealt directly with the role the problem of art the the with of communication dealt directly formation (as identification») “voluntary thegroups Buenosof Aires of women. Antonio Henrique Amaral referredof women. communica to the Henrique Antonio Amaral for GRAMSCI Mexico, and sumption, which in capitalism would be called marketing. marketing. would capitalism called be in sumption, which de Arte Constructivo) Montevideo in (1934-40),de Arte key to the was which counterpart to concretecounterpart Later were poetry. back they aconceptual derstood that “the artist is the link in a chain which is above extended which achain in link is the artist derstood “the that consciousness political materials, and time of phenomenology ogy, context” Gorge Glusberg). Gorge context” decorative work of Carlos Scliar and his action in the sphere the in decorative work action of his con and of Carlos Scliar exhibition in 1972, with thirteen artists (Bedel, Benedit, Glusberg, Benedit, (Bedel, artists thirteen with 1972, in exhibition and conveyed popular mythologies. Brazilian Samico took graph Samico the Brazilian conveyedand mythologies. popular and the future Neoconcretist group Weissmann, Clark, Carvao, Neoconcretist group future the Carvao, Weissmann,and Clark, as an illustrative dialogue between theory and action. In Argentina, Argentina, In action. and theory between dialogue illustrative an as and freedom. In the context of the un modern it freedom. communications, In and was Testa).and work The anthropol history, involved urbanism, social group (Centro yComunicación) de Arte held its first . This term is taken here is taken term undera generic. This character. NATIONALISM. See . The Communist Party had multiple, had some and Communist Party . The ). Waldemar Cordeiro, under himself, was . .). In the sixties, some artists some.). artists sixties, the In ------pág 13/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Parangolé ‘’—structures to be worn and acted. Under“Parangolé acted. ‘’—structures to worn be and idea the of “costumbrista” masterpiece of Francisco Oller Germany, immigrant The thecross which with tribe the the haphazard of theland, influence is glimpsed between an Argentinean and aColombian and Argentinean is incommen an between glimpsed great muralists had done to modern Mexican painting: “he imposes “he done painting: had to modern muralists great Mexican ing a hatina procession ahatina ing (1931) b) and for acostume tropical wearing historical line could be traced with Flávio de Carvalho, Hélio Oiticica de Carvalho, Flávio with could traced line be historical reference with its “Ordermotto andProgress”. toflag, the A parallel is America’s, now Latin no and longer modern the European man ism and class conflicts, ignoring the variety of historical times historical of (see thevariety ignoring conflicts, ism class and colonial internal exploitation, of obtuseness the to also and izations IDEOLOGICAL (See control American Latin or construction matic” mendacious (...) Besides, there of is not characters even asimilitude public the of muralists. the aesthetics against reaction (See discipline CONSTRUCTIVISM ferocioushis civilist cold prison the desiccated of and in this with modern idealism, art ments. They endments. biggest up the They as market phenomena coun their in pat very the following presences monopolistic or sources mandatory between the Hispanic American countries. (...) countries. American be Hispanic the can abyss that between The the dense intimate graphic work graphic densethe of intimate José represented Luis Cuevas a dictatorship,terror outside establishes and aesthetical an of it which three the what Ecuador in does to modern painting Guayasamin that Traba Marta mentionstries. Torres-Garcia that put has Uruguayan oftern produced governmental dictatorships. Most they of time the single Latin America history can lead to fixed anthropological ideal anthropological fixed to lead can history America Latin single ferent. difference (countries, It internal is an regions, groups, individ of (...)” Spanish children the scent than (1926). is dif America Latin etc. is making or has made the truth full independence. afew full Within truth the made or has is making etc. querors have idiom imposed the but predominant not The spirit. the con The least. is the descendants, Spanish are this all surable. That seemed impossible fifties the in to survive”. For Goldmann, Shiffra essentially Latin American issues it which raises”, American Latin essentially proposed as by and Tunga,and representing different de generations. three Flavio as a reserve of difference, exotic and at the same time “fantasmatic”. areserve ofas difference, time exotic same at the and an alliance between the Stalinist aesthetics and right-wing and aesthetics govern Stalinist the between alliance an ) and cultural perspectives(See EVERYTHING cultural ) and . The source of disorder in Brazil could be found in an initial source. The could of initial found disorder be an Brazil in in ). However, Latin American art does not confirm this this ). However, does not confirm art American Latin . “Here Ileave murdered distance”, says Peruvian the . Art dictatorships established models aesthetic as . Art ). ). ). She says also ------pág 16/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Argentinian Macedonio Fernandez. The contemporary counterpart Fernandez. Macedonio counterpart contemporary The Argentinian American art in alignment with European and North American art? art? American North European and with alignment in art American DOUBTS HISTORY DUALITY DRUGS DELODUR were male, and of those 2,100 were years (according 20 olderwere of and 2,100 those than male, to writer Clarice Lispector named it, for it, Lispector (See named another bandit. Clarice BANDITS writer (1932) she enthones of Mater Dolorosa. 1970 a painting In Brazilian (1943),and death initiation MARXISM(See reflecting (1939); abandonment (1940), of Portrait Cropped Self in Hair Henry Ford Hospital (1932) a Tehuana Self-portrait as miscarriage; and Chiavenatto) (See Chiavenatto) Cildo Meireles provocatively used the actual physical pain of living ofCildo living Meireles physical pain provocatively actual used the Or is it the setting of a local tradition? The Shakespearean dilem Shakespearean The tradition? of alocal is itOr setting the Contemporarily, Tunga violent amodel His as po crisis. in art takes Cara-de-Cavalo (1967) pure red pigCara-de-Cavalo of pillow avivid atransparent under torture (seeunder torture TORTURE gin in this world? this in (Orgin versa) vice (See WORLDNESS THIRD ry, who maintained dignity and energy towards the force the towards energy and (See of life dignity ry, who maintained longs to clarity”. Waltercio is adoubt “There artist be Caldas: which Brazilian is in ma evolvesma to “Tupi, or not Tupi, question” is the that (pronounce ideological set of values and the masculine role, thus inflicting disor role, thus inflicting ideological of masculine set the values and ment becomes a metaphor “live formud”, flesh the as the as bandit of inated the edifying example of martyrdom through a hagiography ahagiography through of example martyrdom edifying the inated murderrape and of Conquest. the Baroque rhetoric The dissem beings (chickens) prisoners voice to give of political silent to the cry Two of The joybiography as for such pain the in life, paintings Fridas the doubts of art, more than those on the certitudes of art”, on those certitudes the more wrote doubtsthe than of art, thor is indebted to Catherine David in the development the thor is indebted in David to Catherine entry). of this try was reduced from 800,000 to 194,000, of which only 14,000 14,000 of only which to 194,000, reduced was from 800,000 try rejected Native, the by such was system social pathological this that ed La Paraguaya (c.1880), Laed Paraguaya of defeated the histo in aheraldic portrait scious and the unconscious, the rational and the irrational” (The au (The irrational” scious the unconscious, and the and rational the during the Paraguay War Paraguay (1865-1870): the during coun population of the this much as as America nation of on Latin any fallen has pain cial ers were brought (1965) Rio in inside Museum the of Modern Art challenges to and system of values metaphor art from the between stability. codes Hélio a of defined level Oiticica social main der two in étrangéte”. Things play “between the real and the irreal, the con the irreal, the and real the étrangéte”. play “between Things is “outsideetics “inquiétante an model”, of formalist the with dealing of From sorrow suffering. and colonization early there were signs as the Andean Guaman Poma Guaman de Ayala Andean (See the as KNOWLEDGE as a rupture to the spatial feud of art. In his Bolide Homenagem his In feud a spatial to of the art. arupture as a concept diarrhea”. of “cultural Favelados samba school and danc with He regime. dealt an orderauthoritarian reflected a social that . See ACID . See . “In art, greater confidencethe by works is deserved art, on . “In ). The oeuvre of Frida Kahlo intermingles in symbolic auto symbolic in intermingles of Frida Kahlo oeuvre ). The . Where does the Third World does Third the . Where end First the World and be . Pain and grief are a root of Latin America since the first since first the aroot America are of Latin grief and . Pain and OPIUM and , COCAINE WAR ). The Uruguayan Juan Manual Blanes paint Manual Juan Uruguayan ). The ). ). . ). In My Birth My). Birth In ). Is Latin ). IsLatin ). No so ). ). ------pág 17/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “the body was the motor the was of work”, body the “the complex with implications poet “to pe”), Native people where of Brazilian this name gives the America can be included within the impact of Western impact the for included be culture can within America Waleska Soares, Argentinian Roberto Elia, Chileans Gonzalo Dias, Dias, Gonzalo Chileans Roberto Elia, Waleska Argentinian Soares, The ideaThe of ready-made Hélio developed the was other directions. in DUCHAMP HISTORY ENERGY (1970). lowered Justo text Critic the to the Pastor with Mellado deals Eugenio Dittborn, the early works early Eugenio the of Venezuelan Dittborn, Soto. Jesus Rafael Waltercio Jac Guto Leirner, Barras, Lacaz, Caldas, de Souza, Edgard Blanco). During Brazilian NeoconcretismBlanco). (1959), Brazilian During that idea the was (1946) and Laaff sculpture Diyi were Madi producing articulated Futurism). Buenos Kosice in Before ‘’, Aires, (“Royi that, 1944) and I have begun the part on side right the (...)”. of Glass part the the I have begun Latin Parc or Chilean Castro Cid. Yet Castro of meParc or formalization Chilean the it surpasses Maria Fernanda Cardoso, Brazilians Waldemar Fernanda Cordeiro, Cardoso, Brazilians Maria Tunga, Meireles works in the inaccuracies, mis-perceptions and perplexities perplexities and mis-perceptions inaccuracies, the in works Meireles Duchamp.Marcel Yet, influence noArgentineresulted direct on to Duchamp WalterMarcel Arensberg on Louise and November Oiticica producedOiticica aseries of “Topological Ready-Made Landscapes’’ of condensing possibility the the asynthesis de in Andrade Oswald ifests itself integrally, with the plenitude of its vitality” (Manifesto (Manifesto plenitude the ofifests its itself vitality” integrally, with might history American Latin in of these experiments importance terms the to annul “I’m mind. trying of human the have structure the many artists. The physical energy of Latin American art is in the the is in art American of Latin physical energy The artists. many merit of not forcing aperception as perception of the artistic of art, be a hidden reminiscence in Modernist time of Futurist dreams (See dreams of ahiddenbe Futurist Modernist time reminiscence in 8, 1918. “There is the smell 1918. is the is to great of which 8, breathe “There peace (...). the public. In Latin America, however, America, public. movedthe Latin In the by art there is an the Duchamp referent, would produce a long list, with varying lev referent, Duchamp the would produce varying a long with list, some of these principles: “The new art demands the functioning of functioning some demands the of these principles: new art “The els of problems results: and Colombians Salcedo, Bernardo and Doris doubt crossroad at the identity of offundamental cultures national energy ofgeneral Lucio another quality. In energy terms, Fontana defined chanical forces as in Gyula Kosice’s forces Gyula in as chanical The sculptures. hydro-kinetic approachspecial to “him”: “Duchamp’s contribution the today has (1992).sented Kassel at in Documenta Cildo the Meireles devised has “Fontes’of logics of the measurements, installation his in as ‘pre for Duchamp’s admiration his clares “3 Stoppages Etalon’’ (1913-4). work the condition of Dittborn, of made—in aready-made—read and interior, and of exterior of inconsequential consequential”, and the electricity of the kinetic work of Brazilian Palatnik, Argentinian Le Le Argentinian Palatnik, work of kinetic of the Brazilian electricity objects but phenomenon as of thought”. painting with changeable mechanical structures, manipulated by by manipulated structures, changeable mechanical with painting all energies of man in creation and interpretation. The Being man Being creation energies The interpretation. in and of man all art. In most countries the life and perception most and In life of countries object,under the the art. (See times. CANNIBALISM historical and according formulation to Cildo the Meireles of Jean Lancri. de (See DISORDER devises artist . Spiritual, vital, physical power is core at the of work the vital, of . Spiritual, .) Tunga’s (1991)Incest” “Palindrome installation to claims . “Already old an Buenos 2months Aires! here”, wrote ). ). PERVERSIONS OF OF PERVERSIONS also . See - - - - - pág 18/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 American men, since the potato is originally from the continent, from the the men, since potato is originally the American The Discovery found a continent with a great variety of cosmogo found variety Discovery agreat acontinentThe with The eurocentric Christian character of Conquest the character impetuously Christian eurocentric The ESCHATOLOGY EROTICISM work (the éacasa house, OCorpo the is in body 1969). “It hu is the within their ritualistic development. should ritualistic ener They seen be as their within work suggests autochthonous of search the an nourished by culture, written. Ivo Academy the “Desire Mesquita exhibition in the curated written. Louvre de Oiticica, Clark and Pape and (See Clark de Oiticica, BODY Louvre Patriarchy. In another dimension, Lygia Clark dealt with the senPatriarchy. the another dimension, dealt In with Lygia Clark Brazil an art of erotic Character has never been under privilege. In never In has been under privilege. of erotic Character art an Brazil Miguel Angel Rojas. Whereas in the drawings of Leonilson they are are they of Leonilson drawings the in Angel Rojas.Miguel Whereas 1847-1916” (1991). because may be that that catalogue the in He wrote Counter-Reformist instrumental character which benefitted colo benefitted which Counter-Reformist character instrumental Chilean sculptress Rebeca Matte (1875-1929) sculptress Rebeca Matte Chilean im additional an gains gy, because they are like “medicine”, like are gy, becausethey “since is not aura their orig archetypes mythical direct of articulates José Bedia installation nial projects. Behind this move, there was a confirmation of the histhe of move, aconfirmation projects. this there was Behind nial for destiny whole violent tragic The anew societies. and inscribed Conqueror. somenies, of were which receptive unknown to the very eroticism”, who being own assures his/her man “he/ and she writes, is a symbol of man’sis asymbol to produce potential consciousness. For Latin inated from the self-mystifying intention ego, of postmodernist the self-mystifying from the inated last four,last processes fields, or thematic certain suchas through homo ic energy. Argentinian Victor Grippo takes the model Victor Grippoic the takes energy. of devel the Argentinian rites to work on idea the ofmances of Afro-Cuban aflowsymbol of little space for overt reference the little to work eroticism. the Thus, of but rather from potency, asacred alive”, and undoubtful both Says ticed a permanent eschatological conflict, with the superimposition with eschatological apermanent conflict, ticed eschatology.torical From such a point of view, Conquest the en has because sexuality permeates the whole social life of country, permeates the life whole ei the social because sexuality the subtlethe revelation of Other, the of anostalgia work the in of the ther in the conservatism that attempts to hide it, or in the catharsis attempts to catharsis hide the or it, that in conservatism the in ther the Brazilian character is not so given to anguish and sublimation, or sublimation, and is not to so given anguish character Brazilian the of symbols. energy the sory experience Of touching) involving given objects, which in her in objects, touching) which given Of experience involving sory she becomes sensation”. object the own of his/her ESCHATOLOGY on the level of individual perception potency requiredon level and the the by of individual of a self-declared, universal, ultimate destiny for man. Deprived of for its destiny man. ultimate of aself-declared, universal, American Latin the with clash political eroticism, there is adirect electric energy (0,7 energy electric volts each) sprout. also might world they The and of food (See potato as function daily opment the of Nature, taking Brey, Ricardo leaves Cuban artist, Another Sanchez. Osvaldo critic quent, as in the work of Leonilson, Kuitca, Davila, Galan, Zenil and and Zenil Galan, Davila, workquent, the Kuitca, in as of Leonilson, seems more work the in authorized where of males it is more fre of of process of genocide, conquest, and catechization the transformed portance in the circulation of desire. Overt circulation of desire still of desire of circulation desire. still circulation the Overt in portance aside any iconographic, descriptive symbols and reiterative perfor reiterative and symbols descriptive iconographic, any aside a masochist continent, as a general circumstance, women had very women continent, a general very as circumstance, had a masochist TV soap-operas and Carnival, which liberate which celebrate and in it; Carnival, and soap-operas . A history of eroticism in the art of Brazil has begun to be begun has of Brazil of eroticism art the . Ahistory in ). The potato,). submitted being to The apulsator, generates and EROTICISM and ). The The ). ------. pág 19/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “It would be the confrontation between human eschatology and the the and eschatology human “It would confrontation the between be American artists dealing with eschatologies, such with should names dealing be artists American The work of Argentinian Victor Grippo work operatesThe eschatological the of Argentinian EVERYTHING ESPEJISMO with cement to build installations. Acomplex cement under an materiality, installations. towith build es of naturalistic acosmic dislocates pattern perspective, the within Borges writes: “the name of this book would justify the inclusion the book would of justify ofBorges this name “the writes: Barrio, Antonio Manuel and Ivens Machado deal with direct human human direct Manuel Antonio with Ivens deal and Barrio, Machado Leirner art is a “place” for things, as their ultimate destiny with the the with destiny ultimate is a“place” their as for art things, Leirner Venezuela, WenemoserIn Alfred ashes the of hospital mixes trash Mariatégui (1926). In the prologue of The Book of Imaginary Beings, Beings, (1926). prologue the Mariatégui In of Book of Imaginary The final embodiment in the paradoxical spaces that spaces the paradoxical Wenemoserin embodiment final renders glasses refersglasses “Endless to the Column” of fate to Brancusi the and mentioned: Juan Davila in Chile; Miguel Angel Rojas Colombia; Miguel in Chile; in mentioned: Davila Juan however, of pathos. It never its rather incorporates history face can ic, as if they lived the search for their final A column place. of piled for search the final lived their they if as ic, destiny. things’’, ultimate an “last with It dealt with America. Latin in kind of amoonkind it around which develops its gravitation”, says Tunga. necrophagous coprophagous and produces and asphere is a which its just coleopter, metaphor small the in is which scarab, small the identified, found photographic negatives) in Brazil. ist reached his radical point when he actually ate an over ate an one-thou point when heist actually reached radical his (ainto art European concept introduced colonization). by art The bottles and toothpaste tubes, as well as air-sickness bags, deals with air-sickness well as as with deals toothpaste tubes, bags, and bottles thing” within a system of asystem signs of consumption. other Among Latin within thing” objects steals Jac Leirner Brazilian installations. his to in experience ashes. the Moving in death impregnation and of life phantasmatic the the administration of body odours within both aircraft and art. For art. and aircraft both odours of body within administration the appeared eschatology poetic a compromises, doctrinaire theological transmigration of energy from nature (potatoes, asource of (potatoes, energy from nature of energy transmigration sphere Jorge countries. Luis Borges of “passive the speaks aesthetics” foreign of reflecting culture American tendency Latin that in scribe from airplanes to set them in a new order under an unexpected log anew order to in them set unexpected underfrom airplanes an findsits materiality of conflict that to architecture, from engineering cultural absorption see CANNIBALISM see absorption cultural of prism. For the aesthetics of active the and atheory of mirrors the thefromdependency hegemonic or influence, usually hemi Northern eschatology; Rosangela Ressnoeschatology; (the semiotic eschatologies of un fume, for a project in the Amazonia. “This confrontation has found confrontation has “This forfume, a project Amazonia. the in of soap, organization aParousia. perfume The as art and of things matter, as a constructive which, eschatological transience, is unified repetitious cycle. avain, breaking level to the chatology of symbol, sand-year-old grave. Grippo, potato from apre-Columbian Andean eschatology of physis’eschatology the ‘, he adds. attainment of a perennial symbolic status, i.e., becoming art, a “last a“last art, i.e., becoming status, symbolic of a perennial attainment of cementand temperaturesthe symbolic of of neutrality a conflict art in the eighties distorts the “reflecting” character of many artists. artists. many of character “reflecting” the eighties the distorts in art and probablyand major the contribution of diet to Europe) the of America Tunga afeces-rolling (“rola-bosta”) scarab with deals per and . Spanish term derived term . Spanish from “espejo” (= mirror) to de . “Everything human is ours”, human . “Everything Peruvian the said . The trend of. The “quotations” in ------pág 20/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “From the Uruguayan Torture”,“From Uruguayan the aviolent of set metaphors extract Andrade to Guimarães Rosa voice. listened popular to to the Mexican Guimarães Andrade EXCLUSION FOLKLORE FALLACY EXILE where we may find that everything expressible in any language has has expressible language any in whereeverything that we may find whole, almost all of universe”. the whole, all almost Elsewhere Borges “We says that Darius Milhaud advised Brazilian composers of richness of the popu Brazilian advised Milhaud Darius Latin American art”. American Latin Prince Hamlet, the point, the line, the surface, the hypercube, all all hypercube, the surface, the line, the point, the Hamlet, Prince Fonseca, Camnitzer, Capelan and Gamarra. With his series his of prints With Fonseca, Camnitzer, Gamarra. and Capelan Castro in Brazil, or some from the Madi group in Argentina. group Argentina. or in some Madi from the Brazil, in Castro Orozco was critical of certain nationalist relationships the nationalist between of certain critical Orozco was Camnitzer transforms the voluntary exile into a necessary exile. exile. into anecessary exile voluntary the transforms Camnitzer universe is our patrimony and try all themes”. all try and universe is our patrimony For Borges, Solar Xul jor role in the realization of the national project. In 1920, project. composer In jor of national the role realization the in library in search of the Book. Some called this library Universe. library this Some of search Book. called the in library generic the On words one each maybe and divinity. of the us and ists as Gego in Venezuela, Oiticica, Clark, Lygia Pape and Amilcar de Lygia Venezuela, PapeGegoists in as Amilcar and Clark, Oiticica, lore became an easy conservative and reductive cross-cultural ex reductive and cross-cultural conservative easy lore an became traditions.” purely recourse has local The latter to the folk him... no from which separate one traditions can universal invariable has Pedro painted Figari Uruguayan while architecture, peasant lour in sense the of taken co has Tarsila Oeuvre. early his in do Amaral Ginastera Alberto researched folklore Argentinian themes the like folkloric sources. and Heitorlar Francisco and Mignone Villa-Lobos lived recreating the Universe. recreating the lived One may now conclude everything that may touch all Europeanmay to themes, touch touch and super all without them been printed. One generation after the other has gone One generation otherbeen printed. has the the through after be they Argentinians Kuitca, Porter Kuitca, or Bedel) or non-Latin-Ameri Argentinians they be that the capes ``Parangolés the that ``’’rises oppres the since 1964 against the Afro dances of Candombe in his exile. Writers, de of dances exile. from Candombe Mário his in Afro the thesis - national, universal, political, or historical -is produced or historical abroad political, universal, thesis -national, the right to the universe, to plus right the the it holds asecret (See SECRET excluded from the dominant art history. This would history. includeexcluded This art such dominant from the art clusion inclusion. well as as Someday, of defeated the history the like sive folklorization using the same material which formerly which sive material using would same the folklorization be from Modernist Torres-Garcia to contemporaryGonzalo Figari and can (Kosuth). can Biblioteca his alibrary In de Babel, Borges with deals (...).stitions we Irepeat should that not fear, the that we should think ed from innocent, daily circumstances which gain iconic meaning, gain which circumstances daily fromed innocent, proposed Walter by of those one history the should Benjamin, write artists, of many offers broadest the challenges imagination to the because it has could a genuine America, be Latin source in for art perience. Against this impoverishment, Hélio this would Oiticica perience. warn Against painting as a minor folk art differ essentially in this: the former the this: in essentially differ folk a minor art as painting art of the muralist and folk-art: “Painting in its higher form in and folk-art: and “Painting of muralist the art . Uruguay is the country in Latin America where syn great the America Latin in country is the . Uruguay .

There is no such thing as the monster called “the expert in in expert monster “the the There as is no such called thing . In Latin-American Modernism Folklore Latin-American . In played ama . The writing of art history is an exercise is power an in of ex history of art writing . The ). Borges ------pág 21/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “In the present literary renovation, Futurism with its exaltation its exaltation present renovation, the with Futurism “In literary “Geometria caliente” of Argentinian Torres-— “geometría caliente” of “Geometria Argentinian Arguera, AMERICA Annatereza Fabris, “Futurism is assumed by Brazilian Modernists Modernists Fabris, is Brazilian assumedAnnatereza by “Futurism Avanzada did not seem as threatening to the dictatorial authorities dictatorial to not did the Avanzada threatening seem as Argentinian critics Aldo Pellegrini and Damian Bayon is wide that Damian and Pellegrini Aldo critics Argentinian Dias)Antonio orsensible”, designation the “Geometria by used first Venezuela July, 1910) Vicente poet Huidobro Chilean and (1914) dis GEOMETRIES GHETTO FUTURISM 20, 1909: Marinetti publishes the “Futurist Manifesto’’ (Le Figaro, publishes Manifesto’’ (Le “Futurist the Marinetti 1909: 20, Futurism in Buenos Aires (the poems of Marinetti are “violent, sono “violent, are Buenos in (theFuturism Aires of poems Marinetti (April 5), after days Honduras 45 Ruben discussed ;less Dario than Paris); one publishes 26) Romulo month later Duran in (March an Emanoel Araujo (named by American critic GeorgeEmanoel critic Araujo Preston, (named who American by 15, 1909) an article about this new literacy school Tegucigalpa, in new about literacy 1909) this article an 15, in Sao Paulo Sao a combatin as weapon, since due 19251, negative to the rich in sensual experiences connected to symbolic meanings. On the the On meanings. experiences connected to sensual symbolic in rich iconoclast vanity” of the new literary school; Henrique Soublette of new literary the in iconoclast vanity” mentions Nervo “the Amado de Mexican Janeiro;it Rio August, in in Sousa days Pinto following commented the in and on rous wild”) and forms such of communicating as popular as Pinochet regime the in haps because its direct rhetoric in the haps becauseits direct is so clearly connected with is the archetype. archetype. is the it employedly as approach to for geometric rationality affective the resulting in prison camps for art. Patronizing appreciation Patronizing prison as then forresulting camps in art. strategy, geopolitical a become could Exhibitions end. may norities tame tendencytame of submission medium”. to the Yet historian art to the tural exchange, as in his transparent Yemanja transparent his exchange, in as tural tent Eden (1968-9), in terview with him Gin Comoedia Gin magazine) him later and (November with terview folklore. and theater sive aesthetics of the mirror and to the active aesthetics of prism. the aesthetics active to the and sive of mirror the aesthetics May, In Borges 1921, America. refers ofstrategies Latin pas to the 1921 countries. year. is acurious their in It witnesses cuss Marinetti folk-Brazil’ ‘. Yet, newer Oiticica reference his ceased to genuine cul sacra” of Colombian Carlos Rojas, “Afro-minimalism” of Brazilian it which charge contained”. of our century, represents passive, objectivity the of cinematic the of of dustrialization and modernization of society. Chronology: February February Chronology: society. of modernization and dustrialization cribes intellectual quality to the confines of an artistic ghetto with with ghetto artistic an confines toof the quality cribes intellectual for expression the self-representation and groups mi and of ethnic for Brazilian the diagram (art asocial environment as geometry cial notdid consider possible the Concretism art), allusion so to Brazilian commonly happens in Latin America. In such Torres-Garcia In cases, America. commonly happens Latin in political level, critic Nelly Richard observed that the artistic action action artistic the that observed Nelly level, Richard critic political a radical rejection and a fruitful adoption of Futurism in the cultural cultural the adoption in of Futurism rejection afruitful and a radical a calculated ethnic apportionment. The Brazilian artist Tunga artist has Brazilian apportionment. The ethnic a calculated CADA , the Chilean group Colectivo de the Acciones and Chilean , the de Arte, . Beyond the historical ground and identity (See identity and ground LATIN. Beyond historical the ), the setting of specific space as an authorized territory territory an authorized as space of specific ), setting the . First great door to Modernism in Latin America, per . First America, door great to Latin Modernism in . The many geometries of Latin America include geometries America the of many Latin . The ------pág 22/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 GLOSSARY LATIN AMERICA I am an artist. Because all art belongs to mankind, the attempt the to or belongs to art mankind, all Because artist. an I am Gallery (Canada) in complement to the exhibition “Cartographies’’, “Cartographies’’, exhibition the to complement in (Canada) Gallery Over determinant class differences. Cross class references determinant Over to also serve numerable sources neither are exclusive nor even America to Latin and art affect of class asociety in contradictions region. social Deep have of to considered asingle be areas even between point, at this initiated audience. endsinitiated up of text author’s There, alist being the the is intended to address general the public, less and scholarly the or on assumption the not are explained Futurism, like terms, known of compartmentalizing apolicy as naturalism idea of multicultural ic subcontinent of Western the hemisphere, here yet it is dealt with or is of because most an possibility entrieslimitations the indicate involve. Asecond level of incompleteness entry, each is quite in of ganize thinking about art in geo graphic or geopolitical terms is, at is, geo terms or in geopolitical graphic about art thinking ganize man spirit”. Artists like Cildo Meireles, Alfredo Jaar or Juan Davila or Davila Juan Cildo Jaar Meireles, like spirit”.man Alfredo Artists tance. The given examples do given not The tance. encompasspossibilities the for all been brought one more in entry, due than autonomous to the char ty of responsesty besides mere “engagement”. in other hand, the On the question of its neutrality (See questionthe of NEUTRALITY its neutrality tend to be a general theory of the origins of Latin American art. It art. American of Latin oftend origins the to ageneral be theory doesn’t glossary public the This meaning. that of in is aware their should denounced be Multiculturalism tion. when it imposes Opacity tion other to oppressed, the of devalua under perspective same the one the oppressed rela dividing and in separating by ethnicities, the themselves. fieldstenThereforein vast aremost entries presentedin best, a crude approximation of what art really represents really approximation acrude best, of hu to art the what surveyed by History. In technical terms Latin America is ageograph America Latin terms History. by technical In surveyed territory, spite in (See boundaries of its moving cultural and social solution”, alluded to Tunga. by as However, political, historical, this the in or impurity continent. the There is no purity situated within differences internal The America. Latin source in or universal be absolute would an theme the as either exhaust entry any sue. Hardly sively the participating artists in this show. this in Some accepted artists or widely sively participating the Ivo by curated However, Mesquita. does not text exclu the discuss or impor positions unmatched of radical or sustaining are of art, some founders that are and different qualities tradition of local the not even if compared, have artists, that is due reality to This the curs. or they might be the ongoing the be might ofor aproblematic they building issue. The doubts. colleges entries are Sometimes the or converging positions, quotations have might Yet repetitions. fundamental eliminate certain essarily incompleteessarily due of object the vastness to (See the UNIVERSE process of enrichment Politicizing of is Geo experience. a“coarse declared, “Geographically I am a Latin American and professionally and American aLatin Iam “Geographically declared, a certain subject. This glossary was written for The Winnipeg Art Art for Winnipeg The written was glossary subject. This a certain acter of a source. A reiteration of certain paradigmatic names oc names of asource.acter paradigmatic Areiteration of certain should not the serve continent. Latino-americanidad acultural as is either due This examples. to space abridged partial form or with and to the universe of references that one single artist can always universe of to the and references always can one that single artist are engaged in revitalizing and giving voice ghetto. to the giving and engagedare revitalizing in . This glossary comprises aselection glossary of is nec entries and .This ), is a geographical frame of discussion is the frame ), that is ageographical ). There is aplurali ) ------pág 23/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Janeiro with a thin lead ring and from there sprinkles gold from there and sprinkles powder lead ring athin Janeiro with GOLD with in the entry BRAZIL entry the in with horizons of author controversial. dealt the limited also very are The which are never clear in the process never are the which in clear of production of knowledge. The In Brazil, in the 18th century colonial past, gold past, colonial produced imper century an 18th the in Brazil, In In the phenomenology of Italo-Brazilian Mira Schendel, Mira phenomenologygold the In is a cor of Italo-Brazilian Brazil somehow hides the country. An initial limitation results from limitation somehowBrazil initial hides country. the An fifty terms. The author terms. hopes to publishversionexpanded an this fifty of gold. This complex work, Toro Economico (1983), with the alchem the Toro (1983), work, complex with Economico This gold. location is known but which can-— not recovered be but can-— which location is known more secure question: incisive whose poses an is political something metals, ical Tunga demeaning. Rio in mountain surrounded Loaf Sugar the has ongoing is an project. Publishedglossary here is a selection of exist ing entries from a list which now entries ing which from a list comprises hundred over and two exchanges. world This ever-growing the in ofimpossibility cultural have accomplished of recognition half-way it the aplace an will in incomplete it under isif an adouble glossary it goes if perspective: conform part to the They crimination. dis as not seen be necessarily rections, anticipations and exaggerations, as Adorno has appended, appended, has Adorno as exaggerations, and anticipations rections, (1994). Moralia Minima his in author op The a transparent wished than something that can be removed be can but that something whose location is unknown? than to see (ver) of sounds and acontinuity to other in each drawn are of Cildo game Meireles, strategic the where verbs the to (ser) be and text in the future. future. the in text not send order reader the away even will alphabetical in taxonomy of author. amutable the language master the cataloguing Hopefully when English, isin Portuguese written originally it was that fact the about entry specific the numerousthe artists, mentions of Brazilian that confession,that Theodor deep insufficiency, Adornowhat mentions a accepting in opennessto allude extreme to of the individuals those autonomous an as Glossary this publication. author wishes The also commission of aten-page initial The Gallery. Art Winnipeg to the fect pearl. (Seefect pearl. PEARL sioning insurance company,sioning insurance contained also atorus of he lead that left of commis headquarters the the in over city. acounterpart, the As Percevejo In for of art. Cerveja meanings Serpente (1980) the gold is idea the of ametaphor transmutation and not within asign, symbol, Victor Grippo. work a Itspeculative is necessarily of Argentinian element value. Gold light and alchemical is the symbolism, for the is sometimes which culture, thought American aroundtigative Latin eration with his net of prejudices, intuitions, apprehensions, self cor self apprehensions, intuitions, prejudices, of net his with eration of the announced ofincompleteness announced the glossary. Counterposing of this der. author The is deeply indebted to Ivo Jon Mesquita, Tupper and notes scattered then entries are or on diverse themes alphabetical in poreality in the painterly surface, condensing painterly the surface, in physical properties, poreality personal way of writing which allows alevel allows of which play implies, and in of way personal writing evolved into paper art on theme the of sources American of Latin art critics are purposely quoted purposely are order critics in toart denote a network of inves author not did invent “ the . Contemporary Latin American art deals with pluralistic gold. pluralistic with deals art American . Contemporary Latin and COFFEE and and therefore omissions in examples should should examples in omissions therefore and UNIVERSE ). ). ” (See entry), therefore many ------pág 24/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 American Section of the Communist International. The modernizing modernizing The of Communist International. the Section American Warhol, Stella, Baselitz, Paladino, Cucchi, Haring, de Kooning and de and Kooning Haring, Cucchi, Warhol, Paladino, Baselitz, Stella, Tomasello, Teana, Isobe di Lardera, Kobashi, Vassarely, de Kooning, Transition Sense the Space to and the from Colour Picture the in GRAMSCI HESSE, EVA (Nouveau Realism and Pop)(Nouveau and Realism led Cordeiro Brazilian to The arevision. Rothko, Tobey (See UNIVERSE Bloc, Slesinska, Pasmore, Herbin, Delaunay, Agam, Fontana, Albers, Baumeister, Bill, Max Braque, Boccioni, Dorazio, Etienne- Gris, Pevsner, Taeuber-Arp, Arp, Klee, Gabo, Mondrian, Schwitters, Balmes (SeeBalmes WINNIPEG Nogueira Lima), art main the Fiaminghi, Lauand, Sacilotto, Barros, Martin, Wols, Pollock, Tinguely,Martin, Schoffer, Barre, Nevelson, Klein, Manzoni, Kounellis, Bacon, Reinhardt, Newman, Tapiés, Newman, Reinhardt, Johns, Bacon, Kounellis, Manzoni, Calder, Picasso, Brancusi, Jacobsen, Smith, David Magnelli, Kupka, fluences, references A in worldwithout boundaries, and plagiarism. made an appraisal of appraisal references an made (as precedents, differences, par movement Paulo 1950 Sao the in in ‘s. Cordeiro searched for himself ing and industrialized city of Paulo. Sao city should Concrete for aim art industrialized and ing ist ( ist interest art anon-Latin in claiming noAmerican makes in shame many moremany just are afew of post-war the references. “postmod The modern world, the means of production and the communication me communication the and production of means the world, modern developed the anew utopian “In aGramscian, synthesis: remaining tablished by intellectuals with the fundamental groups responsible fundamental the with tablished intellectuals by the thought beyondthe recommendations of the Gramsci, of Latin the Waldemar Cordeiro, America. groups Latin an in to rural tached the Gramscian organic intellectual in civil society in the fast grow fast the in society civil in intellectual organic Gramscian the the logic of industrial production. New theories of communication communication of theories New production. industrial of logic the sources finds no support in reality. So they aresources sourcesthey and finds in no So supportreality. resources, for social production. Gramsci only briefly observed theexistence production. briefly observed for only Gramsci social tors. Cordeiro’s “concrete objects’’, semantic to the reaction his are of Constructivity” (1960’s):of Constructivity” Tatlin, Lissitzky, Kandinsky, Malevich, of small groups of traditional intellectuals (clergy and military), at (clergy military), and intellectuals groups ofof traditional small says Justo Mellado, there has been a renewal of painting with José says with Justo of painting Mellado, been arenewal there has est in Bataille or Klossowski. In one of his many texts, Hélio Oiticica texts, one In many of or his Klossowski. Bataille est in nor America, in Latin of tradition its own andcultural specificities trend, atotalitarian spite within of of challenge differentiation the the ghosts of regarding in free trend of quotationernist” artists the set ship between painting and Marxism. Marxism. and painting ship between dia should be the same for everyone in all places’’ should fordia (1965). same the all be everyone in Chile, In failure of all utopias established of all failure on basis. Cordeiro, atechnological of 1960’s crisis the dictatorship social and were other compelling fac approaching by trace individualistic every eliminate and objectivity allelisms) between Brazilians and non-Brazilians regarding “The “The regarding non-Brazilians and allelisms) Brazilians between admirer of Gramsci, organized the Concretismo the de Geraldo With organized of Gramsci, admirer and linguistics (See COMMUNICATION linguistics and any difference between a regionalist purity of sources inter an and purity aregionalist difference between any approach (to uncritical an anyone from anywhere). There is hardly attitudes of Balmes represents, for Mellado, a meaningful relation meaningful a Mellado, for represents, Balmes of attitudes SEE IDEOLOGICAL PATROLLING IDEOLOGICAL SEE . Italian Marxist who studied the organic connections es organic the who studied Marxist . Italian . And also Beuys, Serra, Kieffer, Serra, Klein, Palermo, Beuys, Andre, also . And ), represents which positions inspired by ). A Puritanism of Latin American American of Latin ). APuritanism ). This means neither means of ). adenial This ) and forms) and of representation ------pág 25/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Aires groups and Madi in the 1940’s, the in groups Madi and Aires Rio in exhibited whose artists Within a dialectic praxis we Luis work may join as the of praxis such artists adialectic Within Weissmann) is a reference of seventies the Brazil in for artists the Tunga, Fajardo, Iole de Freitas) Jose Carvalho, levels, on such many Pape, Oiticica, Clark, de Castro, neoconcretistThe group Amilcar HISTORY OF LATIN AMERICA HISTORY OF ART OF HISTORY HISTORY HISTORY ART OF LATIN AMERICAN which is a tradition in its own right and can be observed in construc in observed be can and right its own in is atradition which was key formation to the (aswas identification) voluntary the Buenosof (Cildo Meireles, Manuel, Antonio Ivens Waltercio Machado, Caldas, Benjamin.For the Argentinian artist Luis Felipe is “an artist Noé artist the Benjamin.For Argentinian the Latin American artists to an awareness to an of agents being of artists history. American Latin Brazil, this is a cultural dynamic of transformation of of ideas transformation rather dynamic is a cultural this Brazil, Ernesto Neto, Waleska Frida Baromek) Soares, refer previ to both Manuel Blanes, with his painting Paraguay: Image of Image Your Paraguay: Desolate painting his Manuel with Blanes, Camnitzer (Uruguay), Gonzalo Dias and Eugenio and (Chile) Dias (Uruguay), Dittborn Gonzalo Camnitzer of image ade is the (c. La Paraguaya, Country 1880), so-called the Garcia in Montevideo, Asociación de Arte Constructivo (1934-40) Constructivo de Montevideo, Arte in Asociación Garcia SECRET), from the continent or abroad, the art of Latin America America of continent from Latin the or art abroad,SECRET), the ripheral situation of Latin America in the age the of in Late Capitalism, America ripheral situation of Latin history, but one who it”. makes not of artist”, history”. he a rebel instrument says, “is “The against people that haveries, existence”. areal (1970). Juan Uruguayan The membrances visible or evocations and real and conquests. when And in formal aspects). formal in Younger (Jac artists Leirnmer, Fernanda Gomes, transform its History into fantasmatic legends into fantasmatic fables itsand History allego transform and tion—that of alucidtion—that ontology of transparent and opacity. tive art (See art tive feated nation, presented with historical truth, dignity and no and self- dignity feated truth, presented nation, historical with legendsfantasmatic fables and allegories. For and apeople who can than aseries of aggressive ruptures. than ever listening to the History of this West, people will be listening to West, listening be of this people History toever the listening will re as works someday want do to “I looked all be Sul: hallmarks, at as deconstructing the opacities the of history, where,thedeconstructing oppressed finally, project their of in is allowed or No Cildo Meireles neutrality (Brazil. ous generations as well as to other international art movements.ous generations art to well In other as international as of defeated”, the of proposed a“history as Walter by pates writing the is antici concerned, is that apainter history pity. as far as Blanes, de Janeiro (1953)artists. Neo-Concretist the influenced Brazilian and vision blossom toparent the constraints problems the in of percep Waltercio talc).plus With proposed Matisse open Brazilian an Caldas as a contemporary dimension acontemporary as legacy, of colonialist the leads many spread on talc ap top The of images. book about the with Matisse art also substantially nourishes itself from the History of Latin America America nourishes of Latin itself History from the substantially also defeatedand would have aplace. as ferromenology,as (and philosophy ethics and aesthetics, less poetics, . The Brazilian Cildo Meireles about wrote work Brazilian his . The Cruzeiro CONSTRUCTIVISM . See EXCLUSION . See . The critical understanding of pe the understanding critical . The ). The work). The of atelier the of Torres— . . In spite. In (See of previous denials ------pág 26/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “cultural murders’’,“cultural by defined Glauber as Rocha. April 1959): “The name Latin America can suggest who those 1959): can that April America Latin name “The INFERIORITY ICONS VACUI. HORROR INDO-IBERIAN AMERICA IDEOLOGICAL PATROLLING IDEOLOGICAL IMPOSSIBILITIES INSTABILITY woman and for her effort to break through social constraints. S constraints. for and woman social to her break through effort we accepted neither its grandeur, nor its development, nor even its desire the has immediately educated Hollywood who was watching Brazilian cinema, such as the wish for such wish grandeur. the as cinema, From Hollywood Brazilian Brazilian printmaker, would never insert a romantic primitivism in his his in printmaker, would aromantic primitivism neverBrazilian insert Mexican characteristic, “an instinctive distrust regarding our own our own regarding distrust “an instinctive characteristic, Mexican Caetano Veloso.Caetano It national as canons may establish such mandatory becomesCurrently, icon American the of Latin Frida Kahlo the rather Spanish and Portuguese”. and rather Spanish ics. The only possibility was to have it symbolize pathos, as in Munch. in as pathos, to have was it symbolize possibility only ics. The impractical in Latin America. For instance, Oswald Goeldi, the major the For Goeldi, Oswald America. instance, Latin in impractical region. For removed was nature from edenism metaphys Goeldi, and of studies the systematic the in introduced father had Darwinism his inhabit this great territorial extension are individuals who descend extension individuals are territorial great this inhabit for apositive symbol was Che Guevara of art: politicization the ized ing which derives from the colonial past. Octavio Paz mentions a as Octavio derives which ing past. colonial from the worldliness acynical themes, and third mess,ism, wretched popular been denounced has such by This engagement activities. ical art in mirrored in the cinema. “There is a great influence of Hollywood in is influence agreat “There of Hollywood cinema. the in mirrored national institutions for visual art. In its most In violent form it attempts art. for institutions visual national and COLA (Seebol of imperialism COCA CHE, the name Indo-Iberian America, since its inhabitants are descen are since its inhabitants America, Indo-Iberian name the things, an ambiguously fascinating and menacing nature develops nature menacing and ambiguously an fascinating things, form the of apresstake or over-throwing boycott of of the directors dants both of Indians and of ancestors from the Iberian Peninsula, or Peninsula, of and ancestors Iberian of from the Indians both dants utopia, whereas developed Cola Coca negative was the social sym as expressionism. Goeldi had spent his childhood in the Amazon, where Amazon, the in expressionism. spent childhood had Goeldi his only from the so-called Latin European peoples. Latin (...). so-called from the only We believe in Indigena (vol. America magazine XIX of Mexican the editorial sophistication. What we have always refused from Hollywood was its was from we Hollywood refused have always What sophistication. American or aLatin Glauber aBrazilian director that said Rocha film Brazilian we The could to that other extend areas. capacity” of interestdenial work the (See in of foreign HESSE artists corruption and arbitrariness and the continuous transformation of of transformation continuous the and arbitrariness and corruption (1981). ideology” colonialist ation, the blind repetition of certain aesthetic positions is practically positions aesthetic is practically of repetition blind certain the ation, artists as Hélio Oiticica, film director Glauberand composer Rocha film Hélio as Oiticica, artists . During the sixties two major manichean Pop major manichean two icons symbol sixties the . During . With the social frailties, external exploitation, political political exploitation, external frailties, social the With . . Art and attitudes can be representations be can attitudes and of afeel . Art

. Viewing the geographic, political or cultural situ or cultural political geographic, the . Viewing . A term proposed for Latin America in an an proposed. Aterm in for America Latin . Constraints and controls of the ideolog the of controls and Constraints . PAN AMERICANISM ). It may ; no. 2, ; no. 2, ). ). ------pág 27/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Jose Resende confer clarity to this instability. They are structures/ are They instability. Jose to this Resende confer clarity The transparency of the method and the range confer of risks the the and of method on the transparency The CRISIS INSULARIZATION were sitting on the desert, Andean landscape. The geographic isola The landscape. Andean were on desert, the sitting with a fragile social landscape. In an order an In oflandscape. more values, social abstract a fragile with Bedia depicts the image of an island-man. Cuba of depicts image an is the now Bedia embodied in 1881): “There came an air blast, which wins in efficacy the human cal the human efficacy in wins which blast, air 1881): an came “There Cuba, the long political, economical and cultural process of suffoca cultural economical and long the Cuba, political, Cuba ambiguous the as movement moves both that and of a sea algae flictive state between precariousness and a wish for stability is also is wishprecariousness andforbetween a state stability flictive um, or where the cold paraffin retains the form. This is the case thecase of a is This the form. retains or whereum, cold the paraffin nibalistic modernism gave a character to cultural exchange. In his exchange. his In to cultural modernism gave acharacter nibalistic into acosmogonic where character, can its Brazil insularity in like kets. There is an Aristotelian character in this transportable space. transportable this in character Aristotelian kets. There is an maps makes of form Cubament. latter the of bas kites in The and remember de Assis (“Memorias Cubas” de Bras Postumas Machado in the sculpture of Frida Baranek. Finally, these two sculptors Finally, deal these two of Frida Baranek. sculpture the in urgent collapse. The Machado’s imminent defines disaster in work houses seem favelas, they the in shanty Like life. the frail and rium notes Carlos for Zilio, whom operated Oiticica a “permanent decon culture, Brazilian would pervade ideas of of precarious, instability the bour energy flows in boats, trains, airplanes; lifethefrom abounds airplanes; trains, boats, in flows energy bour builds large sculptures with popular construction materials (cement, materials construction popular with sculptures large builds beyond geometric order. astatic Some of Brazilian of sculptures the tion of Paraguay with its neighbours, 1870’s the in with tion of Paraguay (See war the after tion of Manaus in the jungle and La Paz in the Andes, the boycott of boycott the Andes, the jungle La Paz the in and in tion of Manaus Buenos sojourn Arensbergs his in to (1918/9) the during Aires he if as play “I chess system. alone now”, right art ternational Duchamp wrote the workthe of of Resende sociability. to It is time then character arare Rio de the In toitself.sculptorJaneiro, camouflage IvensMachado native his in insularity cosmoconicof specific the takes character societies and groups. and societies However, island of the Cuba transformed has the worksthe of Venezuelan Soto, met Jesus are says Guy Brett, Rafael culus, and there goes everything. So runs the fate of the men”. runs So there and goesculus, everything. circumstances where gravity of superimposed parts meets equilibri of superimposed parts where gravity circumstances stones, broken iron) tiles, become of Beings that precarious equilib ability the endowed entity with an as alizard, is Island also The stays. things sometimes are apparently stagnant, Hélio Oiticica respond Oiticica Hélio stagnant, apparently are sometimes things of chaos and order; at the same time they suggest order; they of and a new equilibrium chaos time same at the out for looking aresolution Ramos or synthesis”. Miranda Ibrahim with of categories the art, by instituted disarticulation and struction painting Visión de Islapainting la desde lejos (1991), abroad, José painted presented the problems of the historical and contemporary environ contemporary and historical the of problems the presented ed to a process of art as crisis saying that “of that we saying adversity crisis live”. toed as aprocess of art The paraffin column that retains the wrinkled form of a piece of wrinkled leather.the that retains column paraffin a mythical mountain-individual: nature flourishesfrombody,his nature la mountain-individual: a mythical archetype. Two Cuban artists, Ibrahim Miranda Ramos and K-cho and Ramos Miranda Two Ibrahim archetype. Cuban artists, as a diagram of the instability of Brazilian social structure. This con This structure. social of Brazilian of instability the adiagram as aphors of age-old problems: relation the illusory, the and of real the as asenseas of impermanence. Time promises no continuity. Where and HISTORY and . Cities and continents can be insular ized in the in the in ized . Cities insular continents be and can ) are denotative of the circumstance of exiled of exiled denotative) are of circumstance the ------pág 28/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 As well as others, there was the artist Takaoka Haminagai. Nippo- Takaoka Haminagai. artist the others, there well as was As There was a difficulty in embracing nativist themes,there a was yet in nativist embracing adifficulty There was JAPAN INTIMISM INTERNATIONALISM would represent change. (...). for amere nations of the America titular were too “foreign”, i.e. clearly of aJapanese character, were avoided. where the desert is the intimate vastness of solitude, vastness orwhere where intimate desert is the the the developedwood block prints, solitude densest the in portrait moral Powerful and traditional, the Japanese civilization would strongly Japanese the civilization traditional, Powerful and Japanese Calderon Garcia preached “The hegemony that Peruvian Brazilians introduced a new character in the 1950’s the in introduced anew character Brazilians 1960’s and with K-cho’s for devices and the Cuba structures transparent is seen as Ohtake and the plurivocal sense of Flavio Shird’s sense of painterlyplurivocal Flavio Ohtakethe action and Cuba into archetypal lizards. For of lizards. Cuba along has history Ramos, Cuba into archetypal figure is the ephemeral is of port desire.figure theacci are andPleasure pain left many influences including those on Candido Portinari’s portrait influencesincludingthose portrait many Candido left on Portinari’s his During worst displays the best and the aspects. America Latin in impose itself on problematic the democracy”. Latin Japan’s presence need for society. absorption Thereby into national images that the portraits. and landscape with work the dealt primarily Brazil, ists in globe can be an imperfect pearl. There are no There are pearl. routes imperfect an be forglobe can revela the movements of the imaginary. Ramos’ metamorphoses turn maps of movements Ramos’ metamorphoses turn of imaginary. the is a minimal cartography of encounters private cartography (and disencounters),is aminimal ism (See DICTATORSHIP that connects Japanese calligraphy and memories with Amazonic li Amazonic memories and Japanese connects with that calligraphy silent the Mabe, gesture of spaces Manabu of Tomie calligraphic the tension between a state of innocence and a sharp irony.tension of astate asharp innocence and between stay in Rio de Janeiro Rio (1931), in stay Japanese Tsougouhara painter Foujita er artists (Wakabaiashi, Kusuno, Okumura, and in Argentina to Argentina in and Kusuno, Okumura, (Wakabaiashi, er artists works His lines. confessionsthe are of asilent for being, whom every tion of atopography of sentiments, except for discrete course the of cion by some pioneer Latin-Americanists in the early 20th century. cion some by 20th early pioneer the in Latin-Americanists dents of this intimate relief. His intimism is disturbed by the discrete the by is disturbed relief. intimism dents intimate His of this opposition images in images of large to fantasmatic ed the mural from history, work sentenced The appeared of Cuevas historians. by paintings of that period. In the early contributions early the In of period. Japanese of that art paintings decadence as most Brazilian modernists did. Goeldi is now in exile is now Goeldi exile did. in modernists decadence most as Brazilian most the and rigorous experiencing of without country career the (Seeernism UNIVERSE considered be can mod of Argentine most the inventive personality watercolours, delicate his with Solar, Xul silence. and recollection of colour, etc.) culture, violence, popular art there politicization, is an to the dwell and in identity an as enabled Lizard-Island the to survive have history in spread the and of incredulity unstable quality of this lies (See and dictatorship, bribery INSTABILITY poet Lezama Lima’s night”. Lezama poet gardens’’ “invisible of “insular the anas and French gesturalism. In Brazil we may refer Brazil oth French and In to many anas gesturalism. as the reaffirmation of thepossibilities of of concentratsize, of small reaffirmation the as . The growing Japanese immigration was taken with suspi with taken was Japanese immigration growing . The . Against the expected excess in Latin American art (like (like art American excess Latin in expected the . Against . See UNIVERSALISM . See ). Oswald Goeldi, through his drawings and and drawings his through Goeldi, ). Oswald ). The nature work of Brazilian Leonilson Leonilson work nature ). of The Brazilian . ). The reinforcement reinforcement ). The ------pág 29/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Trenches trenches more of ideas of worth are stones”, than José said American writer James Fenimore writer American Cooper (1789- 1851) been the has Author, New York, 1992), he showed of dispersed widely a“huge array Venezuelan Reveron, Mexican Dr. Atl, Brazilians Guignard, Goeldi Venezuelan Goeldi Guignard, Dr. Reveron, Mexican Brazilians Atl, The dramatic conclusion, derived from history and social structure, conclusion, structure, dramatic social and The derived from history These products, wrapped in eroticism, historical genres eroticism, historical in (bodegon, products,These wrapped LABYRINTH KODAK KNOWLEDGE vanitas), are soulless seductions. Their main circulation is in the cat the is in circulation vanitas), main soulless are seductions. Their pseudo painting. elegance kitsch fed this virtue, where. Mannerism, wrote an 1188-page long illustrated letter between 1585 and 1615 and to 1585 between long letter 1188-page illustrated an wrote wide range of incorporation of the wide Japanese heritage descendan and (THE) OF MOHICANS THE LAST Phenomenology, pathos, poetical light, complex symbols and signs, signs, and symbols complex light, poetical pathos, Phenomenology, Borges. aflow in Hélioof desire: situatedaspire himself Oiticica “I King Philip III of Spain describing of Spain denouncing and abuses III the Philip of King Marti, a moral designer of Latin America in 1891. in designer amoral America of Latin Marti, ical disputes. Quite often the foreign gaze has difficulties in seeing disputes. difficulties foreignical the has often Quite gaze from been observed conceptu has America of Latin character ical of were diverse fragments acontinuum from Paz atotality and if reader who would not is entitled to delete consider en art the as that raphy, and papal and dynastic European history (See European history raphy, RESISTANCE dynastic and papal and negative dictatorship of side, Fujimori Peruvian the completes the of non-logical some the in Schendel. works character Mira the by On beyond the exotic and the literary and towards asubtle towards and landscape. beyond literary exotic the the and to the great labyrinth”. LANDSCAPE labyrinth”. great to the try from this Glossary as would author as the himself. Glossary from this try tracts of sixteenth century knowledge”: century of sixteenth theology, moral law,tracts geog de According Guchte Spanish. toto van learn (see the in her text conquest. Spanish the To Poma Guaman had illustrate, and write should of polit to ascenario not America reduce Latin in landscape <TheDuchamp, Mexican that condemna to marked to ideology be adesire some by Dad pre-Greek to return Lothar Baumgarten. Claudia Andujar has chosen Andujar has Claudia to among live the Baumgarten. Lothar Brazil during Holland’s domination. Impressionist and Post- and Impressionist domination. Holland’s during Brazil Mexico and the United the the and Mexico States, geographer is amaster defining Chilean Alfredo Jaar and Uruguayan Luis Camnitzer, respectively) Uruguayan and Jaar Alfredo Chilean fit. Other frontiers are expanding Northward: they already comprisealready they frontiersNorthward: Other areexpanding fit. geographic of phone numerous character national directory specific limits and differences between two cultural universes, from history from universes, history cultural two differences and between limits izations such as Argentinidad, Chilenidad, Cubanidad, Guatemalan Guatemalan Cubanidad, Chilenidad, suchizations Argentinidad, as ist European colonization. What can be done with such done be asimplistic can with ist European colonization. What good example is the bronze statue Campolican (1869) Campolican bronzegood is example the statue Chilean the by ists such as Brazilians Cildo Meirelles, Bene Fontelesists such Brazilians as German and works art by art through solidarity the ofrights Natives raised has and abandonment, and distress pain the interpreted individual the impressionist painters travelling to America have also directly ex impressionist have directly also to America painters travelling of Rembrandt Postry Frans by (1612-1680), who Northeastern visited receives spiritual salvation from since aCatholic priest, no there salvation was receives spiritual to nature, economy is notto nature, intended ideology. and a glossary as This the Brazilian critic Mario Pedrosa “art is an experimental exercise Pedrosa experimental is an Mario “art critic Brazilian the oftion to contemplation”. see oneself is converted into liberty the For territories, recently established in areas of what are still “Brazil’’ “Brazil’’ territories, recently established of still are what areas in shrinking, especially in the jungle. This results Yanomani from jungle. the the This in especially shrinking, are limits Other conflict. Malvinas the in silence originated which of freedom.” freedom.” of of a Ronaldo of nostalgia Brito the critic who speaks Brazilian the call cultural proposal?” (fromcultural “Waltercio Jr. Caldas de Rio Aparelhos, of an “illegal” act (now act of by war, instead migration dealt with as “illegal” of an from genocide. survival shows few characteristics very Indian sculptor Nicanor This Plaza. der dispute (Malvinas versus Kuitca Falklands). has der Argentinian dispute (Malvinas even painted The Last of Tamoyos Last the The even painted (1883), where Indian last the “Araucanos’’ the Rodolfo oftribe, Amoedo his Brazilian of Chile. period to recoverperiod telluric forces the were which rational crushed by pre-logical phase: “It is currentfor American for example, TL Latino perimented with tropical light: Gauguin, Pissarro, Degas and Manet Manet and Degas Pissarro, Gauguin, light: tropical perimented with and “Venezuela’’.and tension The present the regarding territorial a problematic question, issue we may seems re what to aunivocal be authorized model for much art and literature in Latin America. A America. modelauthorized Latin in for literature and much art WAR . Tropical centu the in introduced Dutch painting in light was . This is a synonym for art in Latin America. Analyzing Analyzing America. Latin in for art is asynonym . This ). Frida Kahlo, with Self-Portrait on Border with the Between ). Frida Kahlo, and and MEXICO . A continent of moving boundaries. Some. Acontinent un are boundaries. of moving ). ). LATINO-AMERICANIDAD . Just to turn into . Just to turn ------pág 31/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “paranoia or mystification?”. butcouldbe nothing art him new For Waltercio developed work ideas. It his Caldas, constructive towards MADNESS was not a Futurist depiction in Latin America, but an actual plas but actual an America, depiction not Latin in aFuturist was when capitalism triumphs universally through the totalitarian dis totalitarian the through when universally triumphs capitalism (The Dumb)(The (1915/16). Second the World after Right War, Jungian the Political light, derived from the ideological unveiling of reality, derived is ideological the fromunveiling Political the light, Path’’. is substituted Sentimentalism these times for in rationalism Euforista, Puerto Rico, 1922). Rico, by Puerto art exhibition Euforista, of first modern The Exploitation is represented coyote political one in sculpture, stuffed Zero Group. Serpa, who became the teacher Group.Zero the of who Hélio became and Oiticica Serpa, 1960’s Brazilian artists dealt extensively with madness as acultur as madness dealt extensively1960’s with artists Brazilian in his film “Loucura/Cultura” “Loucura/Cultura” (1973). film his in Cildo Meireles a made “zero is thus important to note that in Rio de Janeiro, Rio to note seeds of in the concreis thus that important states connected to“innumerable of the drawings overing 300,000 light of Giverny,mild colours.but strongly contrasting For emo the man labour produces energy and social tension. produces labour man social and energy built sculptures constructed with neon or fluorescent with constructed sculptures built light bulbs, tist art and rationalist logic were in a psychiatric hospital. In the late the hospital. In logic were apsychiatric rationalist and in art tist de led Janeiro. cre to the Rio in This institution amental therapy in Boba is A Malfatti onethemajorby of conflict, paintings cultural this troubled most the psychoses”. by strange coincidental Asa icon of question such Monteiro critics by dismantling as the Lobato, with group, Madi of Argentine Kosica, the Gyula forties the value. In tic see PATHOS Goeldi Oswald of light in character tional to Germany to get involved with the Ulm School of the Design and Ulm the to get involvedto with Germany later went Mavignier movements early the Brazil. in of geometric art engaged both in Serpa, Ivan and Mavignier Almir young artists: two Being”.the of squares black one interned, the Among paintings did subject Gonzalo Diaz presented in this exhibition. The chiaroscuro chiaroscuro presented The exhibition. subject Diaz this Gonzalo in cruzeiro” bill, a worthless bank note bearing the image of an Indian Indian of image an the note bearing bank aworthless bill, cruzeiro” presence the hu reality, faces in which contradictions of atool, with except that hereexcept that “such is sincere, production logical the ofart brains neoliberalism. in of of of ideology death “the the ideology” semination lead sickles tosentence and the that enShining hammer the am “I Sacra’’ present “Via offourteen stations gold arches by this crowned for Diaz of (Argan), into being nothingness diagram is ahistorical of (1793), David’s of Marat Death passage suggesting the of astate on a white field in constructive rhythms. Silveira had the support had of Silveira onrhythms. field awhite in constructive impressionism American not Latin there the in was observes that preceding by a number of years the Minimalist work of Dan Flavin. work Flavin. of Dan preceding a number by of Minimalist years the psychoanalyst Nise da Silveira started an extensive program of art of extensive art program an Nise Silveirastarted psychoanalyst da al value in arepressive in value al era of dictatorship, such Manuel Antonio as ation of “Museum the of of Images Unconscious”, the now hold and an intern of a psychiatric hospital. This announced the fact that that fact the announced hospital. This of intern apsychiatric an and Paulo Sao 1917 in in criticized was Malfatti, Anita artist, a Brazilian sole the presence. is still theater of The apparently the solvedanvil becomesaction photographic represented labour and memory an by abnormal orabnormal madhouse, monstrous from coming the something like “Yo soy el installation Senderoan mucho”. besame Luminoso, The Mellado Protocoloand 3 (1984). “Cartographies’’, In presents Diaz . “Mother Madness, crown us with sparks!” (Manifiesto sparks!” (Manifiesto us with crown . “Mother Madness, . Electric light . Electric ------pág 32/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “manifests”, destiny, anew manifest now Bt 2. in Andes by the Jesuit Bernardo Bitti in the late sixteenth century; he century; late sixteenth the in Jesuit the by Andes Bitti Bernardo MANNERISM MANIFESTO MARVELOUS wives or sisterswives front in of would ones. disappeared the strike They would loudly cry the name of her name the missing relative.would loudly For cry untamed their would find neither a place nor a social meaning. Crisis and critical wouldand critical Crisis find neither a meaning. place nor a social was to becomewas amajor source. Hispanic-— American marvelous realism is realism its obsession marvelous American to name Hispanic-— Manifestoes are not are absolute the producesManifestoes this and source a of art Goeldi, certainly the most rigorous Brazilian spirit in modern art modern art spirit in most the rigorous Brazilian certainly Goeldi, fines that idealized essence,that where idealized knowledge,fines science or philosophy gy of writing manifestos as tactical declarations of declarations principles against tactical as manifestos of writing gy ly reflects the Latin American literary tradition in dealing with art. art. with in dealing tradition literary American the Latin reflects ly in this marvelous territory, marvelous aWestern this in reserve of romantic difference. ic fundamentalism”, etc. As a result of constructing Latin America as as ic fundamentalism”, America Latin aresult As etc. of constructing loso” (1975). essence “the that of Paes Urdanela written Iraset has broidered with the name of their beloved.broidered of their name one Every the once awhile, in with those were two segments to which Brazilian society gave no value society segments werethose to Brazilian which two torting the cultural dynamics. (See OPACITY dynamics. cultural the torting to music on continent. were the Manifestoes were intend written they were called “Las Locas” (the crazy ones). (the Locas” “Las were crazy they called tempts the interpretation of a society of solitudestempts violences. and interpretation of the Many asociety baroque and at discourse which of means the adialectical through Ni no hermoso es feo, bello es ni bello ni por fuerza. traordinario sermons”, by than 1632 Jesuit in the said (apud Oliva Anello van leads to“a historians for national tion by second with wave of opacity of government the shawls white em house, heads, on their bearing from the 1910’sfrom the 1962. (See in death his INTIMISM until exhibitions take historians art to ideas. When “visibility” toed give shadow (see OPACITY schools of painting. The churchesschools The of were painting. numerous decorated with authorseign quoting former. the of into trap have the fallen They circulating ideas. Some hundreds of manifestos in all fields from art fields ideas.fromart Some hundreds all in ofcirculating manifestos force of means conservative or social opponents, effective an or as consciousness would travel only under non-disruptive authorization authorization non-disruptive under only travel would consciousness es más que nada asombroso quees más nada por lo insólito. Todo lo insólito, todo lo de Guchte) EDGE (See KNOWI— patterns as the “marvelous real”, “fantasmatic realism”, “marvelous the real”, as patterns “fantasmatic “fantasmat much are more Indians the moved painting “because by paintings and political murders, fought political was and women. by were They mothers, fierce the dictatorship which employed Argentina In attorture all. and manifestoes as the sole or main historical process, they are dis process, are they historical sole the as or main manifestoes and and fearless demands against an all powerful and totalitarian state, totalitarian and powerful all fearlessand an demands against artists attempt to transpose from literature to art such irrationalist such irrationalist to from art literature attempt to transpose artists facts’’, andhistorical objects its in natural Americaits to find and asombroso, todo lo establecidas que es normas maravil de sale las LATINO AMERICAN DAD LATINO (See AMERICAN continent pre-logic a . Latin America adopted European strate modernist the America . Latin . Italian Mannerism influenced theAndean influenced religious Mannerism . Italian . Cuban writer Alejo Carpentier has written: “lo ex “lo written: has Carpentier Alejo . Cuban writer ) over isolated artists like the Brazilian Oswald Oswald Brazilian the like ) over isolated artists ). The style was introduced in the introduced the in was style ). The ). This unconscious This ). ), foreign de bias ). That distor That ). ------pág 33/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 America Bastide).America never moved South America “Messianism in be Andrade remain a key: “Absorption a key: remain Andrade of enemy. sacred the To trans yond a first draft of nationalism. And has been nothing butdream been a Andhas nothing nationalism. of yonddraft afirst MESSIANISM MATTER MARXISM MESTIZAJE (See (See Brazilian Robert Schwartz (See Schwartz Robert Brazilian Bastide) created field has the and thefor development of forms several is no longer of literary the sociability in Fontana diagram The added. However, not did Bastide approach messianism, modernist even if Marxism has been the main source of social thought in Latin America America thought source Latin in of social main been the has Marxism Metraux), popular (EuclidesMetraux), Cunha) da popular or European (transposed to Modernism through the painter José painter He the Modernism points through out Balmes. histor the Mestizaje, process widespread complex the and is a cross-cultural finds its psychological counterpart in Freudian theory, giving a sym a theory,in giving Freudian finds its psychological counterpart ical relationship between Marxism and painting and, in the sixties and and sixties the in and, painting and relationship Marxism ical between method of workmethod the of matter. which Carlos case Fajardo is the This rigorousness of the logic and the transparency ofthe project, the in in a sense, generates itself in accordance with natural forces’’. asense,in generates natural accordance itself with in This major character of Latin American art. In this process of this absorp In art. American of Latin major character “woven”, apoetical, shadow light and in ings, Character. constructive process spaces open and of mestizaje with deals cultural intricate ture and matter are a perfect unity developing space”, and time in unity aperfect are matter and ture which, ”Art necessity of from the materialism an tioning springing bolic meaning to the dynamic politics of forms and an openness of politics forms an to and dynamic to the bolic meaning de contribution tion, Oswald or poet invention words the of Brazilian seventies, between university reform, political parties and painting. painting. and parties reform, political university seventies, between sitions. Justo Mellado has studied the influence of Gramsci in Chilean sitions.Chilean in influence Justo the of studied Gramsci Mellado has the introduction ofthe other values. moral examples) and its frequent dialectical character in many political po political many in examples) character its and frequent dialectical (See America GRAMSCI Latin in for art ethics its brings price, which says name, their by exploitation authority and authentic call their no vision becausein they are game, choanalysis reality. Plurivocal asocial with deals of Frida Kahlo, painting cal fabrics and materials referring to the colonial past. In this work this the In past. colonial referring to the fabrics materials and sometimes it was full of irony and influenced by Futurist dreams. dreams. of irony influencedby and Futurist full sometimes it was concludes. Brazil’, Peru, Bastide for in and for in populace the writers of indigenous messianism. Messianism was (studied and Schaden by description engagement or personal the events. in It the is rather in form him into atotem”.form him process (see mythological The MYTHOLOGY called Mestizaje (1987).called pre-Columbian colour, work His with deals position announced the precedents of his Spatialism. “Existence, na “Existence, precedents Spatialism. the of his position announced and the deficit the and ZHDANOVYCH (See and very seldom im artistic patterns. “As patterns. seldom psy we very and and know, artistic im Marxism and Joséand Resende Brazil. in POLITICAL THEORY POLITICAL . In 1946,. In Lucio Blanco men Fontana Manifiesto his wrote . Marxism Will Heal the Sick the Heal (1954), Will . Marxism autobiographi the . Ecuadorian painter Viteri made awork made Viteri painter Collage on wood . Ecuadorian . Colonization has transformed Eden into. Colonization transformed hell (Roger has and UTOPIA and ), Marxism created predominant the ), Marxism PSYCHOANALYSIS ), but aesthetics in not always and TROTSKY and ). Between Utopia). Between as two two as ) ------pág 34/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Argentinian writer Ernesto Sabato. writer Argentinian This mythological mestizaje is revived in the work of Marta Maria Maria work the in mestizaje of is revived Marta mythological This Throughout his career Oiticica made an art that could lead one that to ob art an made Throughout Oiticica career his MYTHOLOGY METAPHOR MUSIC would be written and we will know the truth and the errors the and such con truth the know we and will would written be write simply d instead of do. I hope we can maintain this: “What is “What this: simply of do. dinstead write Ihope maintain we can (1921). “someday of that stated metaphor history Borges the further (Cildo Meireles, of of natives attitude 1970, commenting on ethical the Pérez Bravo. Her mythological discourse has both an autobiographi an both has discourse mythological Her Bravo. Pérez Haitian Wilson Bigaud) or indigenous mythology (Peruvian Szyszlos Bigaud) Wilson (Peruvian or indigenousHaitian mythology Brey, Araujo; Mendive,Emmanoel Cubans Lam Bedia, Belkis-Ayon,; Luis Borges metaphor the verbal as traza que is defined “esacurva Hélio Oiticica first produced an art of fugues, polyphonic installa polyphonic fugues, Hélioof produced first art Oiticica an Lucio 1946). Fontana Blanco (Buenos Aires, Manifesto his in Brazil, In Monteiro, Vater, Regina Roberto Evangelista, Cildo Meireles). The My attempt to maintain this game of sound in language leads me to of sound language game in this My attempt to maintain mystical interdiction, observes critic Osvaldo Sanchez. Disregarding Sanchez. Osvaldo observes interdiction, critic mystical jectures enclose.”jectures ESCHATOLOGY also See music,” attempt to preserve an Oiticica’s in creation. Ido is music), is Portuguese “O émúsica” qeuin faço (What he and music. and interrelated One of most art of the Oiticica famous sayings interest is in the cross-cultural history of myths as aposition as of re of myths history interest cross-cultural the is in liance on Afro styles (Brazilians Rubem WValentim, Mestre Didi, Mestre Didi, Rubem WValentim, (Brazilians styles on Afro liance century. Neither nineteenth the extensive re the in is it to catalogue de Janeiro Rio of Academies or in the Santiago art the in mythology ba (“Parangolés”), bossa nova, Caetano, Gilberto Gil, (”Tropicália”),ba (“Parangolés”), Gil, Gilberto Caetano, bossa nova, the argument between art and music and leads substitution to art the of dis between argument the tions, samba sensuality, jazz improvisations and rock experiments. samba sensuality, improvisations rock jazz tions, experiments. and such specifics, “myth is always a great truth, like dreams,”like the says great truth, a always is such“myth specifics, tity of Pachamama, the earth and creation and goddess of Andes. earth the the of Pachamama, tity iden mythological the regains Virgin that Thus of mines. the tains an pos escape as to Catholiccorrespond saints to find the to orixas the imaginary “Cruzeiro do Sul” )(See do Sul” HISTORY “Cruzeiro imaginary the cal character and an archetypical and cultural dimension, some like cultural and archetypical an and character cal silence. It except to say exaggeration notmight for that an be Klee n’ Varizes John and singer roll rock’ and Cage, and jazz Maria Angela serve his interest his (“Metaesquemas”), Bach serve in Haydn (“Núcleos”), sam simultaneous of new development art”, the wrote part integral is an sonance. “Matter, colour sound motion and in phenomena are whose sibility. In the colonial painting of Potosi made sibility. painting colonial the In anonymous artists had cults Afro-Brazilian often Quite survival. cultural sistance and contracts the sound the of preposition the contracts “que” “q”. single the letter in casi siempre entre los puntos—espirituales—el camino más breve” más siemprecasi camino entre los puntos—espirituales—el and Kandinsky, no artist ever has surpassed such universe of arich surpassed ever has no artist Kandinsky, and a “Virgin of the Hill’’ (1720), of Hill’’ the whose silver the moundress became a “Virgin and Tsuchiya, Argentinian Portillos, Brazilians Vicente do Rego Brazilians Portillos, Tsuchiya,and Argentinian . The solo. The music major of artist-musicians two is heard when . “Metaphors have west value no of intrinsic Tordesilhas’’ . The matter is not matter absorption to the observe of. The classic . ), whereas for Jorge ------pág 35/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Jose Siqueiros, Clemente JeanFernando Orozco, Alfaro David Leal, The Last of Tamoios Last the The (1883) in was Rodolfo by What Amoedo. INATIVE NATIONAL NATIONALISM (“El título no traduce sino nuestra adhesión a la Raza, no no refleja sino traduce nuestra(“El título adhesión sino Raza, ala Politicizing question, 1964-1985 the the regime, during dictatorial Poma de Ayala. The long history of indigenous art has many chapPoma many of long deindigenous has The Ayala. history art European stay, Torres-Garcia 1934 in to for back Uruguay came his (Torture of Cuauhtémoc, 1893).Izaguirre movement muralist The indigenous modern Mexico, the and In nationalism were in symbolic inheritor of history. an and of dignity Potter, full Indian individual an Missions Paraguay. in Some groups distaste their have shown also Modernism in the region faced the apparent region the the ofModernism faced look in contradiction New York, 1970): a) Cildo Meireles: to exhibition, here, am this “I in Native nudity would appear only in dying Indians and corpses (like corpses and (like Indians dying wouldNative in nudity only appear Charlot, Francisco Goitia, among others. In European primitivism among European primitivism others. In Francisco Goitia, Charlot, final search for universal symbolism in native culture culture native in EXILE (See symbolism search universal for final identification regarding the ethnic origin. The native gaze has been has gaze The native origin. theethnic identification regarding in Victor Meireles’sin like situation, Moema of 1866), aChristian or in nuestro homenaje (See Incivismo’’) al RELIGION From past. colonial the in or constructed been lost, distorted had movement This past. to ing the which sought identity the to regain Obregon, of Jose paintings Maria the Felix Leandro and in Parra ry centu of nineteenth the quarter last the appeared in identity national exploitation and oppression eign for of pressures the Under ization. Francisco The painted Laso Peruvian 1855 as early century. As last European early representations the in idea from the a matically as two Brazilians declared, without any previous consultation, similar previous consultation, similar any without declared, Brazilians two broadest set of symbolic images, with artists such as Diego Rivera, such Diego as Rivera, artists broadest with images, of set symbolic brought indigenous the to public for spaces, building Mexico the academy, commonly as as Brazilian century nineteenth the ters. In Potosi Cuzco, the schools Quito and baroque the or of in Jesuit the mestizaje the process Also renderedtion. different approaches to self there was arelatively referencethere was smaller indigenous to the heritage the Peruvian magazine Amauta (1926) Amauta magazine Jose by Carlos Peruvian Mariategui the cultural diplomacy seem to mingle at the profit of the local market. profit at seem the tothe diplomacy mingle of local cultural defend neither b) and nor acareer nationality, any Hélio ”i Oiticica: for the colonization of their people (see RESISTANCE people their of colonization the for decades first of the coloniza in enous exterminated population was heritage,self-expression. native since indig the little Cuba very has elsewhere, Indians did not did elsewhere, group. correspond This Indians ethnic to their of self-representation native erences,ato subjectivity individual and source ref contribution and identity, tonational the to primitivist principles in the catalogue Information (Museum of Modern Art, of (Museum Modern Art, Information principles catalogue the in of Latin America, as with Henry Moore. Returning from his long from his Moore. Henry Returning with as America, of Latin digenous gained strength in Andean countries and Mexico in the the in Mexico countries and Andean in digenous strength gained am not else’’.am here representing or representing brazil; anything absorbed throughout Latin America, as in the Andean paintings of paintings Andean the in as absorbed throughout America, Latin anthropological falsehood was reinforced with Catholic morality. morality. Catholic with reinforced was falsehood anthropological . The indigenous presence in Latin American art varied the varied indigenous. The art presence American Latin in . A wide practice on the continent, through which art and and art on continent, which the through practice . Awide . See INTERNATIONALISM . See . ) to the painting painting ) to the ), like Guaman ), Guaman like ). ). ------pág 36/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Abaporu by Tarsila do Amaral and to the Manifesto Antropofago Antropofago Manifesto to the and Tarsila by Abaporu do Amaral This appears also in the work of Chileans Gonzalo Diaz and Eugenio and Diaz work Gonzalo the in appears also of Chileans This The aesthetic, which searches which for indigenous aesthetic, an The metaphysical space INATIVE LATIN AMERICANS INATIVE INATURE NEUTRALITY where that the Amazonic nature produces nature a“capital psy Amazonic where and the mental that accelerator and catalyst whole agigantic complete and naturalism, (1978) to announce his integral Naturalism. “It is a matter of “It strug is amatter (1978) Naturalism. integral to his announce (Chile) Matta potato. Irish (Brazil), the and Télémaque Hervé Fahlstrom (Brazil), (Argentina) (Haiti), Oyvind (1928) (See de Andrade CANNIBALISM of Oswald Baumgarten has dealt with in his work, this can touch, as an act of act touch, an as can work, his this in dealt with has Baumgarten Lautreamont (See (Uruguay) SURREALISM French published Pierre Restany Negro critic Manifesto Rio The Dittborn. On the other hand, “art” as aWestern as “art” is foreign other category hand, the On Dittborn. Manifiesto Blanco, Buenos Aires, Manifiesto 1946). widely is referredNature to Meyer and VaismanMarisol (Venezuela) Cemin Saint-Clair and Nelson Ramos, in the books of Argentinian Jacques in ofBedel, and books Nelson the Argentinian in Ramos, Carlos Rojas, Edgard Negret and Ramirez Villamizar, Uruguayan gling much more against subjective pollution, than against objective much against gling more subjective pollution, against than linguistic appropriation, the very first appropriation, first movements very the the linguistic Conquest:of must be exalted as ahygiene of as a must perception oxygen: mental as exalted be and in this glossary. During a trip on the Negro River in the Amazon, Amazon, the in on Negro the River atrip glossary. During this in ing with nature as being in need of clinging to her order need in of in being clinging as to recov nature with ing landscapes aligned their work against the genocide of Indians. In genocide work the In their against of aligned Indians. landscapes historical literary his with Jose Gamarra, Uruguayan and Brazil in Colombians Szyszlos, work the Alfredo in is evidenced of Peruvian non-alignment with any party or of set ideological principles. cases In party any non-alignment with black and white nature. “Plastic art develops art “Plastic on basis of the nature. white forms and black the giving of geography to European names the of New World. the giving the than that of the air or water. of air the that Amazon the as exceptional than Acontext as to indigenous cultures. Can we call the symbolic artifacts of cer the artifacts symbolic the to we indigenous call Can cultures. the photography of Brazilian Sebastiao Salgado. More Salgado. Sebastiao recently photography somethe of Brazilian emonial life of such cultures “art”? As the German artist Lothar Lothar artist German the As of “art”? such life emonial cultures of Conquest. the grief the pre the others Columbian with cultures, continent. the widespread Some in was artists contemporary titude chic-sensorial phenomenon: the revolution of the truth”. truth”. the of revolution the phenomenon: chic-sensorial else acting”. and written He has of feeling,of our thinking faculties er once again the exercise of her original values’ exercise the er once of ‘. her again original (Lucio Fontana, (...) from nature. drawn We continuing conceive meet his in man spite of the richness of this theme, historical domination remains as as spite remains domination theme, historical of richness of the this pollution, pollution much the of senses the more of brain, and the confounded with either neutrality or political alienation in the case of a case the in alienation or political eitherconfounded neutrality with issue the of autonomy the should which affect notessarily be of art, arouses the idea of a return to original nature. Original nature nature Original nature. arouses to original idea the of areturn a constraint to the self-expression to the a constraint of America. Native groups Latin in such Cildo Meireles, as Andujar Bene and Fonteles Claudia artists are absorbed by the vast and silent Andean landscape as marked by as landscape silent absorbedare and vast Andean the by . If confronted, Restany and Fontana and confronted, Restany . If a have manifested . The broad social contradictions of a society of class nec of class of asociety contradictions broad social . The . They were born in Latin America: America: were Latin in . They born ), Lucio Fontana Fontana Lucio ), ) this modernist at modernist this ) ------pág 37/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 OPACITY ODOUR NORTH visible the relationship between racism and colonialism brought brought colonialism and racism between relationship the visible (1845-1891) exhibited his still-lifes of tropical fruit with their smell, their (1845-1891) with of fruit tropical still-lifes his exhibited

Lygia Pape (1970’s) worked into has awork perfume connected with Brazilian drawn. be can ofsigns odorific asemiology America, Latin His Los San Patricios deals with the Mexican-American War re Mexican-American the that Patricios with deals San Los His Missao/Missoes (How to Build Cathedrals). to iconographic (How Build An system Missao/Missoes Manuel (1969) provide odour of the decadence (death) connection in Mesquita). work, (1966) The Bolide Olfativo consisted Oiticica by of Other, Waltercio whereas there with of is apolitics knowledge. Caldas She departs from the popular cuisine of continent. cuisine the Her popular from the She construc departs his painting (1990’s). painting his of work meat and the Putrefaction in of Barrio recover history from contemporary signs, symbols and things. This This things. and recover symbols from signs, contemporary history rebuilds his tory with its present to connection the with rebuilds (see tory his TORTURE the all Of of Brazil. history and of wealth the a symbol as materiality need to search for sources in the roots of Latin America. In such In a need to for search sources America. roots the of Latin in like the participative work of Lygia Clark, there is an alliance with the the with work alliance there is of an participative Lygiathe like Clark, tions with blocks of guava candies entice a mix of senses—vision, entice candies amix blocks of guava tions with the anthropological scope Fernanda of work the anthropological Cardoso.the of Maria within of acycle Odour life. is of in asign tradition to humus/fertility work leaves rotten the the in amap of of South Antonio in America the United States. United the Torres-Garcia.by South is(see the North Our seduction within the politics of politics gender, the seduction within whereas Nuno em Ramos smell rethe of Silva Philosophical Investigations, coffee”) his in sulted in the annexation of Texas. Camnitzer discovers the unreality of Texas. annexation discovers the sulted in unreality the Camnitzer of communion bones coins, and wafers motion is in makes set which moves of opacities of the deconstruction history Cildo Meireles in expression flow the and art or communication HISTORY of (See Cardoso’s in asuffocation odour as work. leads strong rhetoric to the smell of guava of the characteristically idea the of of the pleasure. saturation The odour, unify taste—which field the developed as In experience. of a“supra-sensoriality” theory least paid attention to smell; has religious senses, man symbolism of historical objects and the possibility for to artist-as-historian possibility objects the the and of historical closed container), void the time same at the and symbolized which powder a of (black in darkness coffee. Coffee here perfume the was er sense (smell) not im seeing the perceived was as same the being as anoth of exhibition sponded art, his challenge. In to amultisensorial hidden room. Much the in was before fruit Wittgenstein since actual phasizes the function of materials and their olfactory character in in character olfactory their and of materials function the phasizes verbal the impossibilities ofdealt with discussing odour (“Describe perspective Latin America would now be the North for Canada ‘and would for now North America Canada the be Latin perspective about through the Christianization of New World. the about Luis Christianization Camnitzer the through major the being exceptions. of Oiticica perfume aesthetics the and a white pillow with a black tube from which one from which tube ablack could smell unseen with pillow a white (Ivo impossibilities art the in of mimetism age. with He dealt instead, . As the guideline for direction, this has been inverted (1936) been inverted has this for guideline direction, the . As . In the nineteenth century, Brazilian painter Estevao Silva Silva Estevao painter century, Brazilian nineteenth the . In . The present, like the past, engenders present, . The past, the like impairing opacities, MAP ), meaning the the ), meaning ). The The ). ). ).

------pág 38/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “baroque”, was given to the style identified with the art of colonial art the with “baroque”, identified style to given the was WAR AFRICA Antiestetica (1965). reAntiestetica achaotic in of art He making discusses the Buenos Luis Felipe in time, same Aires, the At Noe published his America (seeAmerica BAROQUE OPIUMI OTHER PAN AMERICANISM PAMPHLETS PEARLS were mulattoes. Art was then an occupation to non-whites allowed an then was were Art mulattoes. SOCIAL COMMITMENT SOCIAL Hélio Cildo and Meireles, Oiticica would perfect among others, art PanAmericanism as a way of a way excluding United as the isolating and PanAmericanism Carmen Ramirez. Contemporarily, Heidegger’s Ramirez. Carmen been influencehas Negra’’ by Luis Melodia. In the culture of the Latin linguistic group, linguistic of Latin the culture Negra’’ the In Luis by Melodia. States. Latin American solidarity was claimed against continental continental against claimed was solidarity American States. Latin fluorescent art of Afro-religious heritage in Latin America fluorescentAfro-religious (See in Latin heritage of art use the clandestine and subversive tactical model subversive and clandestine use of as pamphlet the the tactical reconstruction of history is a political form of constitution of the the is a political of reconstruction history gion was the opium the of was gion people, Cuban revolution the most the staged inception for of social art. contemporary gram lands, cultures)lands, the beyond confines of Oldthe World’’, wroteMari of Iole sculpture the in de Freitas of materials is a dia character ical major sculptor, painter, great the and Aleijadinho, Mestre Athayde, AFRICA (See Afro-North-Americans. among received and period asignificant as potential its full its realize existence and art an psychological distress, and crisis political and ofriod social including Africa, the word the rep “Negritude” self-re resents ethnic including Africa, American of expansion the incorporate would which integration, for substituted was Latino-Americanidad confrontation. logical the awareness irreme the the “existence of an among Others’’ within baroque these two pearls have asinglebaroque been constituted jewel: in these the two ties, Brazilian artists developed, as a strategy for dealing with a pe for with dealing developed, a strategy as artists Brazilian ties, truth is that the “Other” is always us, never us, they, is always “Other” the observes is that Cuban art truth Other. the with For Lygia Clark, as alliance an such was artists that oppressed subject. opposition as In to phys opacity, transparent the diable separation between the I and the Other. the Iand the diable between Since separation six early the spect without the negative connotation that the word negative the the connotation without that spect “Negro” has fect pearl and the negro pearl. The Portuguese word Portuguese The negro pearl. the for and fect pearl former, the critic Gerardo Mosquera. Gerardo critic of ethnic pride among Afro-Brazilians, such as in the song the such in “Perola as pride among Afro-Brazilians, of ethnic Southern Hemisphere. the intervention in military and capital ality. Art is then an adventure, involving oneself Other. the adventure, involving and is an then (See Art ality. a channel of communication. a channel of Other. the action the through irreplaceable only experience an ) in the fifties and theCubanand Revolution fifties the (1959)) in the led to ideo . 1492 was “an revelation astonishing was of (people, . 1492 Otherness \. If Marx said, under specific historical conditions, that conditions,reli historical under specific said, Marx If \. and DRUGS and . Two imper the America: Latin in sources pearls are of art . Without being like a pamphlet artists would quite often . Without artists apamphlet like being ). ). . The exacerbation of Cold the . The War (See COLD ). In the present the ). In of system hegemonies, the ). Whereas the latter is a self given expression is given aself latter the ). Whereas ). In Brazilian Brazilian ). In ------pág 39/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 The complex DUALITY complex The PERVERSIONS OF HISTORY. OF PERVERSIONS PHILOSOPHY POLITICAL THEORY POLITICAL POSTMODERNISM MARXISM was evident in the first manifestoes on the art of Siqueiros,art the manifestoes on Orozco, first the in evident was THIRD WORLDLINESS THIRD (See (See (See Brazilian Adriana Varejao revisits historical images, like the French Varejao the like images, historical Adriana revisits Brazilian Lyotard seventies, ideas the atimmediate are philosophical the in Mexican writer has also referred also phenomenological to has the writer Mexican influences Marxism has been the major political influence in Latin America art art America in influenceLatin major been the has political Marxism Oiticica, HeideggerOiticica, Schendel, for Mira Lyotard for Tunga or Spinoza gress being raped by a priest, or an Indian woman prisoner woman ap Indian or apriest, by raped gress being an male body with signs, symbols and reminiscences and per of aperverse symbols signs, with body male ical philosophy, etc. Historically the timely predominance of a philo a of predominance timely the Historically etc. philosophy, ical guage or translations. The time gap is overcome time The or of asign close translations. the as guage under diverse approaches several manent interest (See Marxism, in the first descent of an African slavethethe experience continent, on African descent first the an of integration of Latin America with Western with philosophy. America ofintegration Latin We could bly attached to the body like scarifications and perverse andperverse decorations. scarifications like body to the bly attached DICTATORSHIP, TORTURE years)”.tinent for 400 more than TORTURE (See DICTATORSHIP, terests, have which been continuously engaged robbing in con the of open slaves children to to the PRSR was (Dedicated that structure sity and richness of and nature”,sity “on and of and other its hand the waste experiences of immen the on onecontradictions: the between hand (See Otherness of sonal history. The signs of degradation of the private world history. of private the sonal signs of degradation The visi are destruction by corrupt administrations (in league with foreign (in in with league administrations corrupt by destruction the fifties, Baudrillard and Barthes in the sixties, or the in sixties, Foucaultand andBarthes Baudrillard fifties, the sophical position (like the positivism of Comte Auguste positivism the nineteenth position sophical in (like of Husserl analyt Heidegger, and Anglo the School the of Frankfurt, proposition ’subject’ of “a American Latin overwhelming by faced of history for of politics of gender. the history covers the Davila Juan Chilean trace, for instance, the importance of Kant and Merleau-Ponty and of Kant importance for the instance, trace, for century Brazil or widespread Spengler the interest shared Brazil Oswald in century porary thought in Latin America,” wrote Octavio Paz (1992). Octavio America,” wrote thought Latin in The porary disposition of Latin American thinkers and artists in original lan original in artists and thinkers disposition American of Latin agent is an weapons. artist The phallic proached his asoldier by with J.B.painter Debret, to present perversions history, in such ane as for certain works of Waltercio Caldas. Many other artists in many many in works offor Waltercio other artists certain Many Caldas. of the twentieth century, in spite century, in of different approaches.of twentieth the Marxism of Latin American art Opaque and presents Opaque and art it apre-logic as world American of Latin of expectation othercountries The examples. could as shown be and a means of personal growth and upward mobility in a social a social in mobility upward and ofa means growth and personal and and and Futurism in the first decades of the century) gave the decades century) first perof to a the place in Futurism and an edenic, exotic, folkloric art makes the philosophical substratum substratum philosophical the makes art folkloric exotic, edenic, an UTOPIA LATINO AMERICAN DAD LATINO AMERICAN ). As with Merleau-Ponty with ). As Rio’s and neo concrete group in ). In the painting Filho Bastardo (Bastard Child, 1992) Child, (Bastard Bastardo Filho painting the ). In . “Today not Iam sure of orientation the of contem .) .) OTHER . It is observed throughout this glossary that that . It glossary throughout is observed this . Guy Brett has commented has . Guy Brett on widespread the ) is found in the perverse face of history. face ) is found perverse the in The first first murder The first the of a rape, Native, ). ). ).(For positions meta see other critical ). ). ------pág 40/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 CRISIS POP POSTMODERN value and interest”. and value younger in Adifferent approach devised be can producing are work these artists of international art, “good” with work. Daily life and political life are often the same thing here. The thing same the often are life political and life work. Daily with the exploration of an “anti consumption” structure, with pover exploration “anti consumption” the of with an with structure, version of agroup of French authors of diverse epistemological pre widely seen as “political”. seen ofwidely as We character political may the observe (Brazil); Madi (Argentine), Madi (Ecuador),(Brazil); course, Of etc. Guayasamin Pop Art in Latin America. Jacqueline Barnitz analyzed activist con activist analyzed Jacqueline Barnitz America. Latin in Pop Art For Canclini Latin America has amultitemporal has heterogeneity, America For Latin Canclini with Leopoldo Mendes, Taller deoth andmany Grafica Popular, Kahlo Obscurantism and Populism in blind regionalism. The two key Pop two Populism The and Obscurantism regionalism. blind in me. course, Of I can’t there’s deny that element political any my in is notheld comparable art notion United the in political States that icons in Latin America were Cola Coca and (See America Che Guevara icons Latin CHE in in Mundo, em Paulo, (Seein São Crise, Homem, 1975, p. 92. also Arte refer “Crise do Condicionamento end to the of modern art. Artístico”, (aliteracy consequence of anti-consumption the with structure) and modernity has neither at nor large has yet come arrived formodernity everyone. logical alignments and, extending to social goals, experiments in ar in experiments goals, to social extending and, alignments logical in Europe and North America (See America Europe POSTMODERN North in and ty, hunger, festering the of “anti-communication” with brought il by tic discourse be replaced by post-structuralism, the North-American North-American the discourse replaced be post-structuralism, tic by (...) nineties of artis the the demarxistization the have that allowed communicational and educational political, modern with traditions been coined and used in Latin America before discussion great America the been coinedLatin used in and tion in Latin America. Asa consequence, Latin American artists are are consequence, artists Asa American Latin America. Latin tion in not did believe in artists American Latin arule, As language. tistic ideo graphics), programs, (Muralism, to strategies themes, artistic according varying not universal, was to Marxism answer artistic the elements of political iconography” (1991). iconography” political of elements commonly the of region the concludes and art “defying ceptual that conflicts conflicts (1960’sand 1970’s) which were for utopia UTOPIA(See cedence, whose introduction to the American editorial space gavecedence, editorial whose introduction American to the ernization. That temporality involves the indigenous and colonial colonial and indigenous the involves temporality That ernization. mod socio-political and modernism cultural between contradictions censorship (See DICTATORSHIP out that the idea of postmodernity is useless outidea the a continent ofin that postmodernity where Some says others Nestor point Canclini. Garcia its arrival, ceiving political meaning. But work meaning. the more I use even political is if really universal problem it to have people ’m because expect is that American Latin ers in Mexico;ers Tarsila, in Waldemar Cordeiro, Abramo, Portinari Livio political neutrality. So far, the Marxist deficit has deficithas found neutrality. far, So no substitu political Marxist the postmodern debate it seems that in Latin America we are only per we only are debate America postmodern Latin in it seems that artists, like Argentinian Guillermo Kuitca: C...) Kuitca: Guillermo “It is too obvious for Argentinian like artists, and and against imperialism, respectively. Pop Art in Latin America deals deals respectively. America Latin imperialism, in Popagainst Art activity. According to Chilean critic Justo critic Mellado: According eighties “the to Chilean and activity. . There is a perverse Latin American POP alliance: Paternalism, Paternalism, POP alliance: American Latin . There is a perverse COCA COLA COCA and ROOTS and . A term coined by Mario Pedrosa in Brazil in 1966 to in Pedrosa coined Brazil . Aterm Mario by in ), as opposing symbols in the decades of political decades of the ), political opposing in as symbols ). ). POSTMODERNISM and COMMUNICATION and . The term postmodern had had postmodern term . The ), however, the in ). ). ) and ) and ------pág 41/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 PHILOSOPHY PSYCHOANALYSIS PROVINCIALISM PRECEDENTS PRIMITIVISM was a filter between Latin America and some tribal societies. andsocieties. someAmericatribal Latin Tarsila between afilter was Latin American this would have a disadvantageous effect on would ideas effect have this a disadvantageous American Latin In Brazilian modernism the surrealist aspect brings alevel brings a of aspect both modernism surrealist the Brazilian In Gorky. Arshile Armenian the and orixas Afro-Cuban the with Lam, Moro Cesar and from Peru) from Britain Leonora and Carrington Bravo not did consider been Dislocation themselves has Surrealists. Lazo). Péret,Benjamin Augustin Alwarez and However Frida Kahlo Cendrars’ ideas of “Negritude ‘’ in a sojourn in Paris that year. that Cendrars’ Paris asojourn ‘’ in in ideas of “Negritude Goertiz could not be a Minimalist. If Minimalism had started in in started had Minimalism If could not aMinimalist. be Goertiz us” (Freud). This entry only makes some makes only us” cross-references (Freud). entry This between general trend. Primitivism was closer to the reality of Latin America, America, of Latin closer was reality to the general Primitivism trend. more coherent to the impact of the social Darwinism of Spencer (seemore coherent Darwinism of social the impact to the gy. This “modernity offered a possibility of a connection with the past past the offered of with aconnection “modernity apossibility gy. This in “the Freud-inspired “the in of Surrealism”: dialectic been a had “what national identity” (See IMPOSSIBILITY (See identity” national never exerting influence upon the art of the of influenceNorth. art the never upon exerting Mathias to prove Mexican the that trying Art book onhis Minimal It wasn’tnew experiments. started Gregory Battcock that chance by modern theory”. named by Rubin: the Chilean Roberto Matta, the Cuban Wifredo Cuban Wifredo the Roberto Matta, Rubin: by Chilean the named inaccessible to is psychoanalytically attainment of artistic nature the that we sublimation, also have tomately admit connected with ment, Remedios to Varo, French poet married Surrealist who was therapy for Freud would point of become aphilosophy literary and the artists from the continent presented from the and always are suffering as artists the sources to from primitivism to Western organized, couldbe also art threshold repulse and a dynamic incorporation of Freudian psychothreshold repulse a dynamic and mo Bravo, Diego at acertain Rivera Alvarez (Manuel natives the tors from Austria, Paalen Bunuel), (Wolfgang (Breton, immigrants decades of the century was gradually replaced by Primitivism as a as replaced Primitivism by gradually was decades of century the found Brancusi’s in Blaise her and sources sculpture of primitivism heritage (See AFRICA African Brazilian with dealing (1923) A Negra painting do Amaral’s major is the modernist work covered happiness” Antropofago, Manifesto (Oswald de Andrade, for Breton”.departure visi for been arealm Surrealist has Mexico Rubin of William by Freud we devised may see, as to Surrealism, place toplace “post aheterodox been called of has discourse body which an approachan Other, to the but rather for asearch oneself the through not now was Primitivism Thus, America. of Latin reality cultural and and prices. Since Latin American art is always hidden (see is always art SECRETS prices. American and Since Latin analysis: “Before the Portuguese discovered Brazil, Brazil had dis had “Before Brazil discovered Portuguese the analysis: Brazil, for as development the surrealists” a territory “last of three the the meaning asource. as applying Briefly psychoanalysis and art ) than the futurist ideas of social progress ideas of technolo and social futurist the ) than . The impact of futurism in Latin America in the first first the in America Latin in of futurism impact . The . A glossary of Latin American sources precedents and American of Latin . Aglossary . (taboo, terror, phantasm). . “As artistic talent and productive ability are inti are . “As productive and talent ability artistic ). Furthermore, Primitivism Primitivism Furthermore, ). ). However she she However ). ), ), ------pág 42/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 American art. To approach, under different art. individual the American exemplify Andrade). For of Freud’sdenial some other reasons, we a find similar Argentinian Antonio Berni (See Berni Antonio TOYS Argentinian REGIONALISM will cast him in drawings of Balthus, of of Wuthering Balthus, Heights, Cathy as drawings in him cast will (...). Juanito Laguna as a half-caste, mixed breed, arrives in the “pri the in (...). breed, arrives mixed ahalf-caste, as Juanito Laguna Davila, a Chilean living in Australia, and Julio Galan, a Mexican liv aMexican Julio Galan, and Australia, in living aChilean Davila, Davila, the primal scene is dislocated obses narcissistic from the primal the Davila, Mi papas el dia antes papas el que dia Mi supieran que yo (1988). hiber anacer For 1928). Ideally, in this land the “beau sauvage” not1928). reducible was “beau the Ideally, land this to in Sensorial GlovesSensorial (1968). move, herself she Finally, aradical called in Some paintings of Galan touch topic. deep of levels Galan Some He paintings of individual the ideas of the dissolution of the figure of the artist, when proposingideas of dissolution artist, the the of of figure the last but not least, Lacan have an importance in their own right. The The right. own their in but have importance last an not Lacan least, other con in as art notion American of Contemporary Latin liberty. idea conditioned of man unconscious the by we and stress past the is now History, chapter the of Conquest. in takes the Davila Juan Monterrey. native his in ing Galan’s is implied in like This paintings mal scene of outcast” (sic). the English of novelmal an return the to enact ner regions transfers the psychoanalytical reconstruction of in the reconstruction ner regions psychoanalytical the transfers registered by Freud - reality without complexes, without prostitution prostitution without complexes, without reality - Freud by registered tablished with the fantasies of the subject. Prior to this, Clark had had Clark of subject. fantasies the the Prior to this, tablished with of Sapir. theory the the Such in relationship objects defined are es “relational objects”, of therapy with practice actual to following an make-up style boy is of the dressed “exotic” the in American Latin terest to Freud, Jung since like other (See theorists MADNESS the Otherwise isa broad tinents, field psychoanalysis. caughtwith up the theory of Freud principle that theory the is established fundamental the in the character of Juanito Laguna, from the series of paintings of the series from the of paintings of Juanito Laguna, character the the trauma of the constitutive moment. of constitutive the exploration of trauma The the these in sions apparently of unrelated source. an We should in the not limit the Freudian theory because their civilization had not had experienced civilization becausetheir Freudianthe theory sion, and moves toward a collective symbolization. The primal scene primal The sion, moves and symbolization. acollective toward experiences (See OTHER experiences phenomenology and perception to connected art an from evolved Lygia Clark’s work visibility. Brazilian apictorial as history dividual circumstances, the “primal scene” was chosen, as dealt with by Juan Juan by scene” chosen, dealt “primal with as the was circumstances, quet,*“the into of totem” taboo transformation permanent (Oswald de anthropophagous the ban century: this in culture Brazilian directs major the relationship model Finally dominant with of dream. the of Tarsita of elsewheresurrealism the instead pre is of astate vigil, of painting, says Davila with irony. The artist further writes that “I “I that writes irony. further with artist The says Davila of painting, duces (See CANNIBALISM psycho analytical dimension might be raised within certain discus certain dimension within raised be might psycho analytical post-Freudianamongthetheir sourcesplace theories find for Latin 1966: “We in Freudian Lygia the Clark refuse positions with for art dressed and reality, oppressive, social with “Down conflicts: certain plays with the symbolism of regression symbolism scene” the of “primal toplays the areas with a “non-artist”.a and heand nods to“mirror state”(Lacan), the ego the searched if for as and without prisons of the matriarchy of Pindorama”, prisons without and of matriarchy the ad Andrade . See CONTINENTALISM . See ), in such works as Caminhando (1964)), such in works Caminhando as and and WOMEN and . ). The basic anthropophagous anthropophagous basic The ). ), to create images where the ) and, ) and, ------pág 43/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 ARGENTINIDAD Augustine is the title of the installation. Tunga of installation. the title is the usesAugustine anecdote the of RELIGION RESISTANCE RHETORIC (...) difficulty in solving the problem,in (...)solving but existence upon its very (See difficulty Popular is propaganda, pure “ideological vassalage” (See vassalage” purePopular “ideological ZHDANOV is propaganda, Vallejo poet (1927),Peruvian Borges while refer sees obligatory the Dittborn, Virginia Errazuriz and others was developed in Chile as an an as developed others and was Chile in Errazuriz Virginia Dittborn, Mariatequi applied a bruisin directness in his appraisal of the Indian of Indian appraisal the his in applied directness abruisin Mariatequi (See Antropofago Manifesto CANNIBALISM Quite often the visual art falls within the verbal the rhetoric. Some argue within falls art visual the often Quite ument of of days slave the the nobleman APortuguese trade. depicted ing salt from the 17th century (British Museum 1878. II-1,48) is adoc II-1,48) Museum 1878. (British 17th from the salt ing century in fine clothes holds his sword, indicating the clothes fine fiercenessin holdssword,indicating his of European nial artistic achievements all over Latin America, such tem the as over America, achievements Latin all artistic nial in the said installation, migrates to the aesthetic fact. fact. aesthetic to the migrates installation, said the in makes referencemakes “either discus Augustine, to Saint theological in bound to depart in exile or to develop exile work in their bound to aweapon depart as of resis that the visual rhetoric Taller of most Mexican visual the the by prints that de Grafica tance and as a strategy of fighting authoritarianism DICTATORSHIP (See ofauthoritarianism fighting astrategy as and tance the Andean Natives, Poma Andean the de Ayala’s protest (elaborated from 1585 bodiment of suffering) and Peruvian Moico Peruvian ofbodiment Yaker and suffering) (the perversion of his in de Andrade Oswald poet Brazilian by stated been ironically the political aims in Counter in Reform. (See aims political BAROQUE the baroque rhetoric elaboratethe visual on religious rhetoric, thus hiding the inexorable transcendencethe the which, access language, to human for a possibility “thimble” discussing as the and angel, ocean the the Holythe Trinity)”. “ ap most ofthe all”. obsolete Religion historical is critically anti and the Judeo-Christian civilization). (See civilization). BREAD Judeo-Christian the has we peoples, acting” it are that it is against Christianized tured so many dictatorships, her artists might be more than anywhere else anywhere more be might than dictatorships, herso many artists ence to tradition as rhetorical. His scepticism was not scepticism upon based rhetorical. was His the as ence to tradition rhetoric and former the as ofods generation plagiarism (...)”, said on) example. (See is an KNOWLEDGE freedom of RESPONSIBILITY expressionown (See SOCIAL sions with meditation on the investigation of the meaning of meditation on words investigationsions of the meaning the with sophical thoughts Brazilians Regina Vater Regina Tunga and thoughtssophical Brazilians refer. Tunga’s sition approach (396-430) is the Augustine to Saint to whose philo usury, calumny,chism—envy, murder. cul Plague of so called the low anthropophagousnessor Mexico. “The sins of cate the the in or in asimpleor in anecdote itself which refers to ameditation (about exhibition, “Désordres’’exhibition, (Jeu de Paume, 1993) which installation is an presence Eugenio continent. work The that Diaz, in of Gonzalo ples in Quito, Lima, Ouro Preto, Rio de Preto, Janeiro, Ouro Rio Salvador,ples Quito, Lima, in Habana proached today by such artists as Brazilian Adriana Varejao Adriana (the em Brazilian as proached today such by artists ( problem and and act of resistanceact Pinochet dictatorship. to the EXILE SIC . The Catholic Church was responsible for the major colo major the for responsible was Church Catholic The . . “I accuse my generation accuse . “I of meth same continuing the ). Critical conscience defense). in available Critical is also of one’s . Since Latin America has experienced the Conquest the experienced has America and . Since Latin ): “Today, however, a religious solution is undoubtedly ). Im art, formalist quotations by artists superimpose quotations formalist artists by art, ). Im SER AMAVI TE ’’ (Confessions,’’ 27-38) Lib. X, of .) In Africa, a Benin ivory stand ivory aBenin .) Africa, In ). Peruvian Jose). Carlos Peruvian ). po Acontemporary and OPACITY and ). Among ). ). ). ). ------pág 44/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “lubbock” woodblock prints of Ibrahim Miranda Ramos. Ramos. Miranda woodblock of prints Ibrahim “lubbock” Art is in the loss of its cultural roots (See loss the is of SOURCES in its cultural Art America quite often search for a poetical relationship between art relationship art quite for search often between America apoetical RUSSIA POLITICAL THEORY POLITICAL ROOTS works pseudo-science. (vocabulary, as verisimilitude method Their when he proposes of acollapsing imminence perception. the After SCIENCE SECRET SILENCE DRUGSSEX, ROCK’N ROLL AND SECRET . Europe not did in introduce only practices smuggling SMUGGLING Malevitch and Tatlin. The Stalinist cultural dictatorship showed an cultural Tatlin. and Stalinist The Malevitch Neoconcretes (Clark, work the Oiticica) through of especially like the Cyrillic alphabet and Soviet imagery for Novoa Glexis imagery or Soviet the and alphabet Cyrillic the like ideology underpolitical theof (See was constraints influence which amajor onhad such impact movements work the as of Brazilian opened has of away knowledge consequent the and ry of its possibility logic, etc.)logic, front collapse in of strangeness the of objects. Avir the groups, or to some neo Victor Grippo concretes the gives Brazil. in ic whereas laws, Waltercio “Hommage to Einstein’’, an makes Caldas gion. Therefore these artists have more sources than the artists from have Therefore more artists gion. the sources these artists than known. Therefore it is a secret, known only to the artists of re the artists to Therefore the only it known known. is asecret, to unstable and aleatory patterns, like those dominating the market. market. the dominating those like patterns, to unstable aleatory and tual truth, a pseudo-truth are confronted with the psychoanalytical psychoanalytical the confronted are apseudo-truth with truth, tual better think that science contains beauty, that an attentive gaze may science gaze attentive beauty, that an contains that think better spread and been selected by individual choicespread among been selected young and individual by Cubans, that also art contains, in its own way, a natural law”. Artists in Latin Latin in law”. way, its own in anatural contains, Artists art also that take science as art or, sciencetake art inversion. as on contrary, We amechanical the experimental science. The texts of Brazilian Tunga of science. Brazilian texts The his integrate experimental influencequality. Morehas weight, this recently, no Stalinist with Constructivism art. contributing akey source as American of Latin established a circulation of desire in the articulation of certain scientif of certain established of desire articulation acirculation the in space) Ernesto Neto physics, seduces fractal quantum artists. many wonders The ofexistence of science contemporary untruth. (quasars, from Gego, Otero, Venezuela, Soto in Concreto-Invencion and Madi the New World, but also a pattern that intermingled spiritual and and New World,the spiritual intermingled that but a pattern also And experiment. of an beauty the of alawdiscover or beauty still the clue to the artist’s courting science, saying that it does science,clue that not to mean saying artist’s to the courting elsewhere, since they have any source (see have any elsewhere, since they EVERYTHING all, relativity has been a firm soil for Latin American Constructivism Constructivism American soil for Latin been afirm has relativity all, against in art history (books and exhibitions) and (books un widely it history remains art in against science,and itselfknowledge. would form forof aspecific be art artistic life with smuggling. The oldest extant European art work European art oldest smuggling. The extant with life artistic . For Pedrosa Mario (see POSTMODERN . The inscription of modern Russian art on Western of inscription modern histo Russian art . The art . Since Latin American art has been widely discriminated discriminated been widely has art American . Since Latin one, so far, for exclusive their use. . Some Victor Grippo look might works like of Argentinian . See MUSIC . See ), leading to the production of an art of dubious production to), the leading art of an . MUSIC MUSIC and ACID,. See COCAINE ) the crisis of crisis Modern) the ) and its) and submission ) plus this. ) plus this. - - - - - pág 45/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “South-American sensibility” (Chantal Pontbriand). Living amidst amidst Living Pontbriand). (Chantal sensibility” “South-American American artists in general in never absolute the believed in artists autonomyAmerican Argentina (2)Argentina (2). Uruguay and Janeiro. Hollow wooden baroque “santos’’ were instru perfect the worldadventure, around mine”.in im not himself he way finds This within a tradition, the rigorousness the atradition, project of his transpar the and within SOCCER SOCIAL COMMITMENT SOCIAL Latin American artist to denied be or required to represent artist American someLatin Says Argentinian artist Luis Felipe artist Noé: “AsSays Argentinian achange we now are Salcedo who had been invited to an exhibition in that country. that The in exhibition to an been invited Salcedo who had gation and invention of the poetic possibilities of materiality offers a inventiongation possibilities and of poetic of the materiality in a society in which the artist lives with the consciousness the lives with of “I the artist the which in asociety in level of sociability that is pertinent to contemporary times. Working to times. contemporary is pertinent that level of sociability reached conclusion the Prampolin change. Ida Rodrigues gage social ing from cocaine consuming countries. countries. consuming from cocaine ing in spite of winning the world the spite championshipin (3), of seven winning Brazil times: is not on the official lists of import and export products”.andexport import lists of is not on official the Recently to fool besttrying haveat I life been my spending traffic; nor drug Berni Antonio Argentine Also standards. high those wished they if related is aFrench to Brazil wood relief Frenchmen depicting in ment for smuggling gold in colonial America. Since Brazilian protec ment Since for Brazilian gold smuggling America. colonial in to meet society, however without halting his own mission, his own mission, own tohis meet society, own his however halting without to expression has a geographical variation. Artists coming from co from coming Artists variation. geographical a has expression to tic productiontic so and up politics to 1950s it of entailment art, is the “sincethat its independence if obtained Mexico 1821, in from Spain to he/she which demands, local and tations a in aligned be might sense of being”. sculptor Carlos Fajardo, investi Brazilian his with Doris destroyed Colombian by Spain police in asculpture the artist of world the customsthe to of which a vision of and pass and life, art, materials, artists’ laws forbidtionist quality of high importation the contemporary social dimension. dimension. social contemporary Fajardo method, ofency his opens new approaches to knowledge as caine producing countries have fewer human rights than artists com producing artists caine countries have fewer than rights human ciety”. This commitment has been altered by the historical process. been altered historical commitment the by has ciety”. This of cultur the character social the belief in this Historically of art. ducer (See of cocaine COCAINE asmuggler, hesaid was neither Imake ideological “but smuggling Natives the for de wood on of coast with the Rio deals smuggling plicitly in a collective adventure but adventure wonder. a collective in in plicitly tendency the He has painter Ibere Camargo has declared that artists became smugglers became artists that declared has Camargo Ibere painter and the Other’’, the and world the and “I front”, in Others’’, the and “T and “I an experience of clarity. This is the commitment is the Other, to the of This experience a clarity. in an any quality has remained around the trajectory of critical and artis and of critical trajectory around the remained has quality any to and en to forsearch identity a national project led artists al has society, Latin aless yet reality, and in individualistic social a hard regard to in foreign happens both expec of region. This the aspect alleged reason was that the artist came from Colombia, came amajor pro artist the that reasonalleged was . Latin America produces America connected to soccer,. Latin no good art . It is quite common for the individuality of a . It is quite common for individuality the ). It artist’s seems the now rights that ------pág 46/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “A world of omens, premonitions, superstitions cures and is au that America, like Oiticica (See Oiticica like ODOUR America, When a Brazilian poet declares that “we had already the surrealist surrealist the already “we had declares that poet aBrazilian When The sugar civilization of Brazil was depicted Dutch by was painter of Brazil civilization sugar The 275,000 African slaves had been taken to Europe and the Americas. slaves to Europe Americas. been taken the and had African 275,000 with the accumulation of guava candy blocks, disrupts any minimal any blocks, disrupts candy of guava accumulation the with dagger, the Empire the was and Eduardo Galeano, says Uruguayan could ametaphorwhich seen be as of Montesquieu’s sugar. Sugar velopment in Latin America, says thereforevelopment Galeano; Cardoso’s America, Latin in accu very expensive if it were expensive if very not for slave labour. Contemporary Brazilian SOURCES SUGAR SUPERSTITION SURREALISM Frans Post, the first important European artist to work in America. America. to workin artist European important Post,Frans first the Republic (c.1522). Colombo Cristobal brought himself sug first the Montesquieu, “L’Esprit his in des Lois’’, principles the both sets of Colombian writer Gabriel Garcia Marquez. Surrealism and other and Colombian Gabriel Surrealism Marquez. Garcia writer Surrealist process created encoun chance “the Surrealist by of was dissociation hardship of life in Salvador, abook Sweethardship in in of Sweat, Bitter life Bahia ist analogy. The smell its excessively The to and appeals ist the analogy. taste sweet intended (See to exhaustive. be EVERYTHING mulation stands formulation She economic stands aperverse of wealth. could effect the murderer.the work The of Fernanda Colombian Cardoso, Maria been a haven for the surrealist exile, “everyday life in Latin America America Latin “everyday in been a haven life exile, for surrealist the of aremnant colonization, could criticism, be thought. A “Christian” American”, Latin Gabriel Marquez as truly Garcia ours, thentically of underde to factory produce the aloss. as reverted was Sugar was of sugar, history works American where the Latin the towards turn the interpenetration of magical thought in all levels life, of thought all everyday in of magical interpenetration the the justification of justification slavehoodthe groundsthat wouldbe sugar the on some of 17th the century Republic. beginning the By Dominican the ter of a sewing machine and an umbrella table”. an on and adissection machine ter of asewing Quite seen in the tendency the seen in to consider superstitious Afro-American the areand not and mythology, subjectnative to absolutesignifications symbolic with patterns, cultural sources connected to are original separation ofseparation powers state) of (formal liberal the organization and sions of Diego Colombo, son the of “Discover’’, the Dominican the in ferently Catholic cult. from the Cuba Candomblé in and Santeria like dif cults or Umbanda Brazil, in often Latin America is given as a surrealist continent, as Mexico has continent, has Mexico as asurrealist as is given America Latin often photographer Branco interpreted sensuality, joy the Rio and Miguel plastic values (seeplastic POSTMODERN proves that reality is full of the most extraordinary things,” remarked of most the extraordinary is full proves reality that also be inscribed in the history of multi sensoriality of art in Latin Latin in of art of sensoriality multi history the in inscribed be also ar-cane sproutsar-cane now are to which plant on second lands to his the trip and irrationality, sometimes assigned to Latin American culture. culture. American sometimes assigned to Latin irrationality, and (see MARVELOUS affinities a video by the Uruguayan Isidore-Lucien Uruguayan the by a video (1846-1870), Ducasse the . The first first revolt. The thehappened Americaposses of in slaves in . Brazilian critic Mario Pedrosa says that rooted cultural Pedrosa rooted Mario says cultural that critic . Brazilian . Since the “Chants of. Since Maldoror” “Chants the (1868) of Lautréamont . André Breton 1938. André in Mexico observed visited and ) reinforce idea the of unconsciousness ). Author’s is not Glossary note: This ). ). and SECRET and ). ). ------pág 47/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Artists like Antonio Dias and Rubens Gerchman, con veyed highly con Rubens veyed and highly Gerchman, Dias Antonio like Artists consumers (See groups large of ICONS marginal with societies in Art THEATER THIRD WORLDLINESS THIRD The major influence in Latin American modern architecture every architecture modern American major The in influenceLatin PRIMITIVISM violent image of politics, sex, labour,violent sex, of indus image politics, consumption cultural and vades the work of many artists and photographers and possi work only the the vades as artists of many where, aresult as travels of projects his continent to the local his and vailing standards of the Third World lead to of Third phe the America standards Latin in vailing was surrealist, that is to say, that pre of then the dom character surrealist, the it had was SWITZERLAND Guillermo Kuitca could he what restateGuillermo does ater, that is the the as in Buenos Aires and Rio de Janeiro, was Le Corbusier, de Buenos Janeiro, Le Rio in and was Aires func his with jectivity in his art. art. his in jectivity ical geography,ical presence Swiss The from snow is not to pure milk. rates and dictatorial regimes (Seerates COMMUNICATION dictatorial and illiteracy high with nomena asociety communication such in mass as respective countriesrespective today? (See UNDERDEVELOPMENTD role their of Paulo, São in cities like Mexico, Buenos or Caracas Aires ences economic hegemonic differ and hiding interests. cultural The is however “Thirdworldliness” of of reality, this another veiling refusal native origin (i.e., origin (i.e., language)native the acontemporarymeaning had it (1928) Antropofago Manifesto his in language” (See CANNIBALISM inant international cultural movement). cultural international is Andrade’sinant This dialectical bility for images of Latin America, distorting its totality. The fear and fear and its The totality. distorting for America, images of Latin bility tion of a representation, the reflection of a mysteriously incomplete incomplete mysteriously a of reflection the representation, a of tion transfer of national capital and exploiting the interest the exploiting and capital rates of of ex transfer national the to economic, political and cultural colonialism, which is now internal is now which colonialism, internal cultural and to economic, political try to deal with the structural tensions. This peculiarity is the major is the tensions. peculiarity This structural the with to deal try ideas. Writer contributedtionalist Cendrars Blaise formulation to the utopia it gathers both worst. the debt and America; ofternal Latin there is an indisputable historical dimension. He was in the process indisputable the there dimension. is in an He historical was be) would then find a cultural migration in the pun with the with the in pun migration be) Tupina cultural would a find then tive language (Tupi, language tive or not Tupi, question). is the that sumption of role the of spectator-voyeur, “presenting representa the Kuitca’s observed has Carvajal as Rina of image. the sole reality constructive art in Argentina, Brazil, Uruguay and Venezuela. and Uruguay Brazil, Argentina, in art constructive stood less as theater than as the factory plant of modernity, Kuitca factory the as stood less theater as than unconscious the under of untold it”. was or an part Guattari after If, We of drama the never wedrama. narrative seeing the are if know only of “washing whiter” the money from corruption, drugs, illegal illegal whiter” money the drugs, from corruption, ofonly “washing colonialism and discrimination (a is the racism”). “regionalistic discrimination and colonialism What degrees development of regional leads that another level are of reality of artistic nationalism with the incorporation of African heritage (See incorporation of the African with nationalism of artistic of establishing a national project Thereforeof a national establishing of culture. and past the can now freely reestablish the theatricality of production the of sub now freely reestablishcan theatricality the perspective of culture. The Shakespearean dilemma (to dilemma Shakespearean The or be of not culture. perspective to art of Max Bill and the School of Ulm framed some basic framed principles School the and of of Ulm Bill of Max art . As a paraphrase of Hélio a paraphrase (“what I do Oiticica . isAs music”) ). Since end the of Second the World War, Concrete the . The country has amystique has opposite of country trop to that . The . A unhappy and self-indulgent and . Aunhappy per attitude and TV and ). The pre The ). ) and Pop) and ). ). ), ), ------pág 48/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Creoles”. concepts from cos of time, other cultural many There are Atemporality is the basic support for myth in the painting of painting the in basic is the support forAtemporality myth ving continent like Latin America furnishes the best possible the furnishes model America continent Latin like ving writes in History of Eternity. Destiempo. History in “Detime”,writes or adeconstruc who states that “in the void the does speed not to “in comparewho dare states that itself, it (São Paulo, 1928), shows He commitment. included adeep political (See (See Rauschenberg, but it a diverse made presentation of a consumer soci when he proceed classic his Marxism, imbued with still was Berni Heights (1990), perversion fulfilled how showing had historical if as art years later Chilean Pontus twenty More Hultén him. than named Mexican muralists, organizing his work through the classical view of view work his classical the through organizing muralists, Mexican Greece, India, China, in the Judeo-Christian or in the Islamic worlds, Islamic the or in Judeo-Christian the in China, Greece, India, Colombian Alejandro Obreg’On and Peruvian Fernando de Szyszlo Szyszlo de Fernando Peruvian and Obreg’On Alejandro Colombian Saul Karsz has written about different concepts the for written of time the has Karsz Saul inclusion work the in of as value, objects of vés apictorial troy had of the under impact he the was work. his thirties the in Earlier in ist Juan Davila returned to Juanito Laguna in the series the Wuthering in to Juanito Laguna returned ist Davila Juan as a the his of world”, qualities “citizen reflecting as ment art, his in Fahlstrém Oyvind work the ist heaven. of Pop Brazilian-born In Art, lism of time in Latin America create the possibility of a “glossary of create a “glossary possibility the America Latin in lism of time loped philosophies. Such concepts have been developed ancient in deve highly to views non-philosophical pre-philosophical, mogonic, the slaves, and half-castes the conquistadors, the African natives, the mostis just presented In cases more one work synthetically. still is international horizon of production the reproducinternational the of new and the CIRCULARITY See groups, nous may caress the infinite”.may the caress bian plastic and symbolic systems or the Andean silent systemsor landscape. Andean the symbolic and plastic bian oppression series society. the “Juanito class In in (1960’s) Laguna” the perspective change to con formal vey anew social aradical with ed Antonio Argentina, In tocontribution Pop America of Art. Latin of exclusion from consumption is a melancholic of capital the denial border lumpen is very at the the of border. child the ety: allegory The economic differences, imperialism, militarism, and underdevelop tive context of information/ deformation. ef It adissociative context brings oftive information/ tion of time, according to Welly Richards, as asymmetry between the the between according totion of Welly asymmetry time, as Richards, of time”. Likegeneral the glossary, it “incom should an as given be of what might also be called the evolving symbol”. evolving the called be of also might what However,or among Bantus. the noted, “an evol has Paul as Ricoeur America, Latin Time its entry. his and each Secret in in In discussed fect in Latin America. America. Latin fect in others from its apparent today, enough are to time,” disintegrate he of amoment from its inseparability ce apparent and yesterday and plete glossary of time as a source of art in Latin America”, Latin in asource as of of art time it even plete if glossary all promises body. toall the Agent of history. (See HISTORY OF LATIN AMERICA TIME Baroque. Circularity. Quite often time is circular for indige many is circular time often Quite Baroque. Circularity. Delusion. This is the identity of time forDelusion. of indifferen time identity Borges. is the “The This Lima, Title of of time. Death ashort essay Lezama Cuban poet by TIME . The multiplicity,. The heterogeneity, dimensions symbo and Negation below), of time invokes latter the pre-Colum the above. Conflictual time. above. Conflictual ) Atemporality. ------pág 49/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Time was perceived as against all-encompassing unbroken perceived and against was as “Time eter “We of duration ameans refuse expression. as We propose mo the Argentinian Jacques Bedel has made a hard steel book, The Earth’s Jacques Earth’s steel The ahard book, made BedelArgentinian has University, science, industrialization, urbanization, literature and and literature University, urbanization, science, industrialization, writes poet Lezama Lima. Lima. Lezama poet writes THIRD WORLDLINESS THIRD (See Bichos of Lygia Clark is always necessarily ephemeralBichos unique. necessarily and of is always Lygia Clark Bergson’s position sculptures of of duration. moving Any the theory Hélio would Oiticica go beyond adolescent his interest Henri in Moon, designed “to be almost indestructible, made to last an uncomMoon, an designed to last made indestructible, “to almost be For love it is lasting. that while should eternal be Moraes written has is for a means metaphor the of as a past the construction for very the ral heterogeneity in Latin America, becauseseldom moderniza has heterogeneity America, ral Latin in for crisis some Americans. was/is a crucial Latin ratically”. Eternity and er copy fleetingly but only imitates can time historical which nity de Vinicius inconceivable poet an is also word. this Brazilian him is again found in the aesthetics and the logic of the industrial pro logic of industrial the the and found aesthetics the in is again Paulo. São like (See FUTURISM the desireand to embodying deciphereternity. infinity, Bedel of Book evokes Sand, his he In adds. Borges’s homonymous monly long vanished, has time”, to our read civilization long be after ment of the act as the field the ment as experience. of of act the We proposethe precarious between cultural modernism and social modernization. modernization. modernism social and cultural between by the parable of the arrow until it’s of horizon”, the line the until parable in the by of arrow the burial tion operated with the substitution of the traditional and the ancient. the and substitution the of traditional the tion operated with the Catholic attitude in colonial Latin America, Saul Karsz argues, argues, Karsz Saul America, Latin colonial in Catholic attitude the to continue and movementthe to absorbed be of image eternity an as time through a belief in progress, such as in fast industrializing cities progress, industrializing abelief in fast such through in as time movements new of art the advancement social dream in the with ting of upda satisfaction the arts, beaux old of academic the the rules it self-multiplying is opened.time It endless is thus an to narrative, every the which remakestext sand, with abook to filled build text, timated by transverse recourse. Duality. The links between history history between links recourse. The transverse by Duality. timated is the-legi which of past tradition, it is opposedthat “national” to the figure from the anticipation) “new”the is apart (as and memory.And oftics discontinuity, she idea as how observed of international the cialism (Seecialism PROVINCIALISM duction of Concretism in the fifties in Sao in Sao Paulo duction of Concretism fifties (See the in duration”, she adds. contemporarily in the syndrome of active and anti-Third and of active syndrome the Worldlinesscontemporarily in personal theory of eternity as a poor eternity already without God, God, without already apoor eternity as of eternity theory personal art live together with illiteracy, disease, political corruption, provin corruption, political disease, illiteracy, together live with art and yet without another possessor and without archetypes. For yet another possessorand without archetypes. without and and simultaneous time (Anibal Quijano,apud (Anibal Davila). Juan simultaneousand time Duration. asequential it sense has the that in America Latin in differ time and as a new concept of existence, against every static crystallization in in crystallization static anew conceptas every of existence, against History. The reconstruction of History forHistory. of adependent History reconstruction The continent Heterogeneity. points to amultitempo Nestor Canclini Garcia of Eternity, Jorge History Eternity. his In Luis Borges his brings Ephemeral. “Blessed ephemerals we the are may contemplate that Futurism. In Latin America, the Futurist ideas meant overcoming Futurist the America, Latin In Futurism. Diachrony. poli the discussed Discontinuity. has Nelly Richards ). ). ). Canclini also mentions also disjunction the ). Canclini ). A remnant of this belief in progress belief in ). of Aremnant this GRAMSCI ) and ) and ------pág 50/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “Nervos de Prata’’, he created an actual loop by filming a circular tun decircular a Prata’’,“Nervos loop filming by he created actual an TIME TOPOLOGY with lost nature replaced by an arbitrary and reconstituted and image. arbitrary replaced lost an by nature with (apud Aracy Amaral), that could connected idea to be the that of astate (apud Amaral), Aracy Salcedo articulates the volume added the mat and of piecesSalcedo articulates of furniture interior of a mountain, as if time were space.(See by time trapped if as interior of amountain, also toro (a the ring) in topological nel “an thus creating imaginary and his In artist. of this non-linear and history the roque, - in circular not start or they do not start when they are invented. world are when the Or they do or not is they start not start recurrences of the night, says poet Lezama Lima. Lima. recurrences Lezama says poet of night, the (the occurrences and to go city) itlity across Tibetan all is necessary of ground the the changes quiet away settles and from any remain recurrent time of myth that ends in the beginning and begins at the at the begins and beginning ends the in that of myth recurrent time novel and Gabriel by Marquez refers which Garcia circular to the on subject. the Hundred texts lected Years of Solitude. Title of the dimension the of history. gains America Latin in process. independence, With time psychoanalytical the in individual mits are not are mits perceivable (See discussion the of Mobius the in band irreplaceable nonnent and transferable act, temporal per se, li the barely noted its arrival. See TIME See barely noted its arrival. the circularity of time. Lezama as a poetical “theoretician” ba is the a poetical as Lezama of time. circularity the tion of different historical temporalities. He adds that postmodern postmodern temporalities. Hetion of adds that different historical ter to create monolithic volumes embodiment the of like immobility. America’s of symptom Latin book the Modernism (See WORDS to supernature (“sobre naturaleza”), writes Lezama Lima, and deals deals and (“sobreto Lima, supernature Lezama writes naturaleza”), sis of Tonga’s refers work. David Catherine complex to the -ba time dreams succeed in negating time and disappearing with dimension. with disappearing and succeed time negating dreams in debate seems to be becoming exhausted in Latin America and yet and we America debate Latin in seems exhausted to becoming be of helplessness de détresse”). (“état Freudian the psychoanalysis in end. Nestor Garcia Canclini mentions ofend. Nestor considering disease the Canclini this Garcia painting of Alejandro Obregon. of Alejandro Marquez, of literature Garcia painting The as in the paintings of Peruvian Szyszlo. For Cuban Lezama Lima, Szyszlo. For of Lima, Peruvian paintings the Cuban in Lezama as ancientan invention, says “Museum”. Fernandez Macedonio this in a nostalgia of history, concluded Argentinian artist Luis Felipe of history,a nostalgia concluded artist Noé Argentinian act of experiencing the art propositions imma the art In the of of Lygia experiencing Clark. act Paradiso. Title of the novel by Cuban Lezama Lima. It reiterates TitleParadiso. of Lima. novel the Cuban Lezama by Precariousness. See ADVERSITY See Precariousness. mobile. Perpetuum Intersection. Canclini quotes Anderson about Perry Canclini Intersection. intersec the Immobilism. The ancestral Colombian ancestral tendency The toImmobilism. immobility, to Immanence. Past, present and future get mixed in the immanent immanent the in present Past, getImmanence. mixed future and of Eternity. TitleHistory of Jorge abook by col Luis Borges, with Museum of the Novel of the Eternal. It is doubtful that things doMuseum of Novel things the It that is doubtful of Eternal. the Memory. New causality. In “Paradiso’’ (see “Paradiso’’ New causality.In below), to new causa reach the aform be of negation can of time, Negation Atemporality of time. of time. Naturalness Nostalgia of would history. of of generate apast its lack Nostalgia own The Outsideness of place (see “Paradiso” The of time. below) is equal Novelty. and Fernandoand of Doris sculpture Botero The added. may be /Circularity and TOPOLOGY and /Circularity and TIME and / Totality below). ). ). / Heterogeneity./ . ). ). ------pág 51/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 TOPOLOGY TIME This cape would be art only when only would worn and produce would cape art be completeThis Tunga (toroidal surfaces), Ernesto Neto (torus), others. Lygia and where stone and Mobius the of metal body rigid assumed the band work of Max Bill, amajor referencework Bill, of Max Hélio for into formalism. them, walking) is a flow of time, which is immanent immanent thefromfor which is is aflowtime, born it is of walking) Iole moments the de of Mobius Freitas the (like of acharacter band), Luces Carpentier, Cuban Alejo by dealt politi whereas José Marti Oiticica made awearable made Oiticica Mobius (1960’s). a“parangolé” as band Clark proposed, in this same idea same (See of transformation proposed, this in Clark OTHER Stein, says Argentinian Marta Traba. Marta saysStein, Argentinian ity, producing a topology of topologies. This meta topological con topological meta This topologies. of topology a producing ity, images, the visual rhythm all lead to the transformation of circulari lead totransformation the all rhythm visual the images, in melancholy and nostalgia, are present are book El Siglo melancholy the in in de nostalgia, las and lems Mobius of the philosophy In constructiveness. and the band, ing energy to it through dance and other movements. and to dance it energy through ing of asign As brought Mobius the regions, thus to reducing band new sensorial the of of vertigo time. the into ahypothesis ty the existence of the art work, as in Caminhando (See OTHER Caminhando work, in as existence of art the the the Shroudthe Senise’s Daniel in painting. to become acontemplative object (1935-53). artists American Latin motion where forward meets acircumstance of time continuity the the heritage from the Brazilian Neoconcrete, rath on heritage aconceptual the Brazilian from the struction involves the specificities of modern topology and theand involves new of specificities modern the topology struction fore and the after, I am the future within the present, the inside the I am fore within after, the and future the I am idea the of dispossession with of past. the cally sent impregnated by archaism with a uncertain future; the present the future; auncertain sent with impregnated archaism by of perception and conjectural thought, levels of language and prob levels thought, and of perception of conjectural and language discoveries of Physics,and flow phenomenology, the fantasm of acts energy in the unity between the object and the one that was add object one was the the and that between unity the in energy er than a formalist level,the we concerns a formalist topological infind work erof than of time “once (S.of time Karsz). for and deprived all” of past, that Allegories roots established of interruption appearance the the of cultural the experience of cutting a Mobius band lengthwise. Caminhando (1963, aMobius Caminhando ofexperience cutting lengthwise. band propose the participation of the public as a necessary condition of publicpropose the for anecessary participation as the profound memory may take, for instance, the mythical character of character profound mythical for the may memory take, instance, paradoxical “unilateral surface” resulted surface” from atorsion. “unilateral Thereforeparadoxical and the outside.(...)”, the and would artist the Thus written. has Lygia Clark and the future are like holes like are endlessly past the from which future comes the and and and reverse are contained in each other. Max Bill made sculptures reverse other.and sculptures each made in contained are Bill Max Vertigo. baroque movement, and The exuberance rhetoric the of Time. Valueless Totality. Man is a time-space totality for Lygia Clark, “I am the be the am for “I Totality. Lygia Clark, totality is atime-space Man Unfathomable instant. instant. Unfathomable Promise. Promise. Presentification of time. Present prolonged. A time of multiple experiences weaves a pre a weaves experiences multiple of time A prolonged. Present Stolen slaves For loss the brought time. African to the America, and history Shroud. pathos, A notion impregnated of with time goes like a sea stream. Like in the ”present the Like in goes asea stream. like prolonged” of Gertrude /Immanence). /Immanence). . Latin America deals with topology as a refined arefined complex as topology with deals America . Latin and and ) the ) the ------pág 52/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 “abstract man” as a child (See man” achild “abstract as CONSTRUCTIVISM “inhumane communism” that has been dealt with by many art many by communism” been dealt with has that “inhumane Argentina, Xul Solar made his munecos his made (dolls), Solar Xul Argentina, avoiding Spanish the TRANSLINGUISTIC DETERRITORIALIZATION TOYS TORTURE Torres-Garcia. not He toys has built but Crelazer, uto another social VenezuelanThe Reveron peoples Macuto solitude Armando in his with objects of simple materials and an extreme economy objects extreme of an simple of and materi with materials juice”word aword in “juguete”, suggested which game... “bad to him (Lacan), as if the ego mo the of constitutive searched the (Lacan), if for as trauma the (1983/4), could which have life avisu images from daily with dealing Prisoner (1970)live chickens fire to set poleon a radical a make to Menna Barreto. Some paintings by Mexican Julio Galan touch deep Julio Galan Mexican by Some Barreto. Menna paintings Mobius subverted opposing has band the (“a significant—signified Camnitzer has made a series of prints from the Uruguayan Torture aseries Uruguayan made of from the prints has Camnitzer unique and irreplaceable experience of each individual. This work This unique irreplaceable of and individual. experience each ment.(Abridged) ment.(Abridged) levels of an individual topic. Toyslevels individual of an reside of regres symbolism the in longs to the order of games of “philosophical investigations”, dislo investigations”, “philosophical of games of order the to longs leisure,the not around it, aflight butde as apex as of rather human tois Lacan’s essential topology, where itasa of is defined “pattern ization developedization loss the production of a mass delica of toys, with Cildoists. Meireles Tiradentes, in Totem—Monument to aPolitical the equilibrium of reason and nature, aiming for harmony. total aiming of In equilibrium reasonthe nature, and by the British customs to spell his last name: “You name: customs British the last by to his spell you, be are 1, are to another significant”). In thethe In process raises it individuation of to another significant”). aesthetics” (1967),transcendental of The repetition. trajectory the in sion in areas of “the primal scene”sion (Freud) of primal “the areas mirror’s “the in and state” cating Wittgenstein tofield Wittgenstein the cating perception.of Children’s fantasies sires’ ‘. puzzles) Waltercio With blank use of the toys (like Caldas be of his constructivism. They were They art-works for constructivism. ofof the his sensibility the cy. Toys played increasingly role the of substitution for mother’s the Modernist many America quence Latin in of Futurism of impact the sensibilities constraints. under most with the radical dealing itself”, represents cannot signify “A significant a significant subject of Castillete’’, “El house. his Hélio inheritor of the may be Oiticica statement Luis about prisons. Uruguayan in lives at stake human of author. the is meant to compare deterritorialization to the This master-language the being Portuguese English, in written originally of continuity between the ego Other. the the and between of continuity alevelquestions ultimately and differentiation of and differentiation presence. parameters Torres-Garcia symbolic the toys made within pia connected pleasure to the world principle: “The is created our in and impulses of destruction are in the perverse toys of Brazilian Lia toys of perverse the Brazilian in are impulsesand of destruction artists in the region the created in toys. Forartists Walter industrial Benjamin, was since prison, artist situation in the dramatic to connection the al ality in his paintings. They inhabit with symbolism, the sacred space sacred the symbolism, with inhabit They paintings. his in ality answer given by the Argentinian artist Miguel Uriburu, when Uriburu, asked Miguel artist Argentinian the by given answer . Futurist Fortunato Depero. Futurist created aconse as toys. Maybe . A widespread method of “defending democracy” against against . Awidespread of democracy” method “defending . This glossary has been has glossary . This ). They dealt with dealt with ). They ------pág 53/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 America. Aware of the national particularities of each country (de of country each Aware particularities of national the America. TROTSKY UNDERDEVELOPMENT you”. such In Babel developed of otherness identity, and his artist the veloped, capitalist, socialist, underdeveloped, colony), Brazilian crit colony), Brazilian underdeveloped, socialist, capitalist, veloped, velopment was dominant in political and economicvelopment and debates political in Latin dominant in was to power,vice from electronic preachers election of the to marketing would be achieved as the countries become the would as conscientious achieved be about their working within the legacy of Trotsky then and legacy the apoint of as departure working within for fighting completeindependence. still result the ofwas acountry (Avant-garde and Underdevelopment, 1969). Underdeveloped coun 1969). Underdeveloped Underdevelopment, (Avant-garde and (See (See In Brazil, the printmaker Livio Abramo left the Communist Party for Communist Party the left Abramo Livio printmaker the Brazil, In nowadays. See RHETORIC See nowadays. rhetoric when of cross compared nothing the is almost to television ic Ferreira Gullar proposed a dialectical vision of the international vision of international the ic Ferreira proposed adialectical Gullar in” From video. the another point of view, heavens the ser in remain going much beyond. Chilean artist Eugenio Dittborn called the video video the Eugenio called Dittborn going artist much beyond. Chilean geographic points (the Hudson New York, in River Canal Grand the meaning (notmeaning engagement) moment adequate historical to the and for conscious aclaim ing freedom social and mess, experimentation, mak by art illuminated who Mario Pedrosa, was in influenceBrazil refusing to (1931). mock Trotsky a caricature in was Abramo Thus language in a world of growing internationalism and disrupted by and aworld internationalism in language of growing Venice, elementin etc.). derived from visual unifying Colour the was killed by Stalinist agents. Trotsky discussed art production within agents. Trotsky production Stalinist by within art discussed killed ism (See CRISIS that is valid in developed in countries’’. is valid that never and from appropriate the country to this characteristics tural tries are consumers of the art of developed consumers are the tries ones, of art the Ferreira Gullar more having powerto art, with identification to jointly them mutual when only devel attitude internationalist wouldtries adopt atruly ferred to the liberal fiction of universal communication. The baroque communication. universal fiction ferredof liberal to the country should appear from the examination of the social and cul and of social the should examination from appear the country ter of the art of Diego Rivera, whose socialist and national meaning meaning national and whose of socialist Diegoter Rivera, of art the worldthe process of revolution, permanent whether under cri the over changing international globality. Since underdeveloped international over changing coun and identities. specificities Suchown conscientiousness would lead internationalism true reality.oping knowledge This the own of their character of culture in the book Vanguarda eSubdesenvolvimento the in of culture character earlier that Matta, in some of his graphic attitudes, was “lithography “lithography was some in attitudes, graphic of his Matta, earlier that saved major ... realism The from alater engagement socialist with presidents. Adorno, revelation his consciousness, in of false re has ses of the contradictions of capitalism or the construction of social or of construction ses capitalism the of contradictions the deterritorializations. deterritorializations. acceptance and mechanical transference of aconcept mechanical and acceptance of garde avant affirms, “the definition of avant-garde art in an underdeveloped an ofavant-garde in art “the definition affirms, a contemporary woodblock print. The critic Justo critic woodblocka contemporary said The Mellado had print. artistic project of dumping colour green waterartistic of the important in al choice, free from any bureaucratic directions like socialist realms realms choice, socialist like al bureaucratic from any free directions ZHDANOV . Russian Marxist in his Mexican exile (1940) exile Mexican his in who was . Russian Marxist and LIBERTY and ). Art should be an act of consciousness should act an be ). Art individu and . During the 1960’s the . During concept the of underde . ). He charac stressed revolutionary the ------pág 54/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 VOID WAR Yves Klein, Piero Manzoni, LucioYves Fontana Piero Manzoni, John and Klein, Cage. Negation, Alfredo Boulton. The doubts Boulton. The of disappearance Alfredo science, historical the Argentinian Guillermo Kuitca painted a theater of individual anguish anguish atheater Kuitca painted of individual Guillermo Argentinian UTOPIA. According More, to Sir Thomas close Utopia to very was UNIVERSE UNIVERSALISM why the Americas have been a fertile field have been afertile thefor Americas projection the why of uto was Utopia. The cathedral too. Now we cathedral need Utopia. to The reconwas sider things. (Aracy Amaral). Hers is an art of voids, Hers where art redundancy is an extreme Amaral). (Aracy Belgium has written about present times: “I was born in Cuba. That about That Cuba. present in born written was has Belgium “I times: Maybe there’sMaybe no longer for aplace cathedrals”. (See GRAMSCI Camnitzer takes the Mexican American War (1848), American Mexican the which takes through Camnitzer Guy Brett asserts that Schendel’s that asserts Guy Brett work proposals the of paralleled South America, just some fifteen miles from its coast. Maybe that is fromMaybe miles just its coast. some fifteen South America, geographic isolation, social abandonment, economic exploitation, exploitation, economic abandonment, social isolation, geographic SOCIAL RESPONSIBILITY of resistance act (Seeism, is an SOCIAL made by woodblock prints. Contemporary Uruguayan artist Luis artist woodblock by made Contemporary Uruguayan prints. caricatures with them illustrating and camps newspapers their in of 75% (an genocide of killing Paraguay the mitted estimate against humanizing empty space” (“Ilegéa humanizar el vacio”), space” alludes (“Ilegéa empty humanizar humanizing resource philosophical the he in says been apowerful further, has world word the her no in penetration that reveals syntactical has resisted and continuouslyhas genocide. with been faced Since the istence in art the experience of experience clarity. the istence art in bag inscribed with Coca Cola that he Cola bought Coca that from stand atourist with inscribed bag present and acamouflage facts day objects historical (like between the Unitedthe present States the annexed of Texas, territory to decons Neighbor Northern the its (with application of Monroe the Doctrine) towards the distant theater of absurdities (See the distant the towards of war DEATH truct the opacities of history (See opacities of the history OPACITY truct the country to British capital), Brazil, Argentina and Uruguay com Uruguay and Argentina to capital), British Brazil, country the tinent of great inequalities. The Cuban artist Ricardo Brey, living in Brey, in Ricardo living Cuban artist The tinent of inequalities. great bilities of Otherness—the problem of the void beyond personal dis personal beyond void the of problem Otherness—the of bilities tress and approaching philosophical speculation, finds within theex within finds speculation, approachingtress and philosophical superimposition (1950-51) plans of transparent Soto succeeded in 1966). de Campos, (Haroldo information to generate original starts Cuba representedsixties, possible and areal utopia social for acon of the Arpilleras of Chile, under Pinochet dictatorship the (which of Chile, re of Arpilleras the explorations within personal topology, solitude, desire, the impossi the desire, solitude, topology, personal within explorations of continent, the vastness territorial the of peoples diasporas, and development the With of avant-garde America. Latin in strategies population), soldiers resisted whereas Paraguayan the printing by political regime. During the Paraguayan War (1865-70, Paraguayan the During regime. openedpolitical which pias. Since 1492, like utopia under a nightmare, the “beau sauvage” utopia “beau like the under Since anightmare, pias. 1492, are a source of art. This art, in the realm of the expansion of of expansion capital the realm the in art, This asourceare of art. at the siteat the of one events war). of of historical that the (See HISTORY aligned the country with capitalism) testified for the grief underthe capitalism) grief thefor testified with country the aligned . Civil wars, wars among Latin American countries or wars with with countries or wars American among Latin wars wars, . Civil . In her. In series of monoprints (1960’s), Schendel Mira Brazilian . See EVERYTHING . See . See REGIONALISM . See . . ) by building coincidences building ) by ). The craft craft ). The ). ). ).

). ). ------pág 55/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 WINNIPEG WATERMELON WOMEN America within a political totality. For younger Colombian genera For Colombian younger totality. political a within America Traba, Colombia, in probably made active Marta critic Argentinian verían despojadosverían situación que misma de la sufriendo su discurso, way out of the influence of the Mexican muralists and theand determina outway ofthe influencemuralists the of Mexican Eltit and Nury Gonzalez),Eltit Nury of and strategies ellipses met using and poetic Rosenfeld, Diamela Lotty Parra, Catalina Villareal, Alicia Errazuriz, Kahlo and Rufino Tamayo. The painting of Dulce Maria takes Nunez Rufino and Maria Dulce of The painting Kahlo Tamayo. Balmes was also active in the University, the in active played also which arole was Balmes trans in Mellado points out the importance ofJosé painter the Mellado points who out ar Balmes importance the Mediterranean character and a Catalan influence. He presented aCatalan and a character Mediterranean Nelly Richard developedNelly com Richard of acriticism resistance ahighly and Quite often it colour often Quite appears of as Frida intensity, painting the in as mogony where women for have creation energy great the expended graphic design, the development of which was in the hands of Catalan development design, the graphic of Catalan hands the in of was which modernization of art in Chile. He produced an informalism with a with He produced Chile. in informalism an of art modernization 1939, in Chile, in onrived ship the ageat “Winnipeg”, the of thirteen, to aBrazilian been trusted has intelligence and America ofity Latin sensibil the of mapping This “Cartographies”. exhibition the hosting in Mermaid (1990), Mermaid in deified or Dutch corn, Huitzilopochtli in bananas pineapples and watermelons are There tradition. artistic from rived refugees Balmes.” ship on same who as the came to from ing, furniture to from theatre paint activities, modernizing according to Mellado, a“construction was, of areferenthe vivido, of mente Justo a loscritic artistas”, Mellado. previ He says Chilean had born artist to have coun aone-person the in artist born of exhibition modern art the first major attempt to understand the artistic process major first of Latin artistic the the understandattempt to by the ancient Natives. The Brazilian poet Murilo Mendes the Murilo poet called ancient the by Brazilian Natives. The this country, womenthis of different generations Virginia Bru, (Roser tions there is Maria Fernanda Cardoso and Doris Salcedo, with their their Fernanda Salcedo, Cardoso Doris tions there and with is Maria 1917. in Malfatti established Anita Tarsila basis was the do Amaral try tion of Brazilian- women first century. The throughout twentieth the the poor,the on stomach, to view”. the aspectacle (See BANANA de historicity of an symbols as of land the of fertility the fruits the tion of the Latin American section of the Communist International. of Communist International. the section American tion of Latin the for a national modern art that involved local plastic values and a cos values and plastic involved that local modernfor art anational of a social place for art. During the Pinochet dictatorship in Chile, Chile, Pinochet dictatorship the in During for place of art. a social forming culture in Chile. The “Winnipeg effect,” which has also been effect,” also has which “Winnipeg The Chile. in culture forming art. on Chilean effect” ously else, “Winnipeg something detected the previa infringido habian latinoamericanos) no curadores (los ellos curator, continent. the It is a Ivo avoice as Mesquita, from within open watermelon red “the bread suspended front in of mouth the of evaluated by poet Pablo poet by autobiographyevaluated his Neruda in Confieso que plex political analysis of the social inception of artistic language. In In language. inception of artistic of social the analysis plex political perverse disturbance of the systems of objects, from nature to of systems of the the objects, from nature disturbance perverse position beyond that in which present Latin American curators “seposition present which in beyond American that Latin aphor, effect eda political project for a cultural life under surveillance. aphor, under life surveillance. project for political eda acultural effect an exile from the Franco regime. Balmes fostered Franco from the Balmes regime. openness exile an toan the . Brazil profited from the most radical profitedthefrom . Brazil most ROOTS radical (See . The geodesic center of the art of Latin America while geodesic while . The America of center Latin of art the . The heraldic fruit for watermelon. is Mexico the heraldic fruit . The ) participa ) ). ). ------pág 56/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 WORDS Amaral, Abaporu and Antropofagia (1928), Antropofagia and Abaporu developing its positionAmaral, in Varo, Leonora Carrington and Maria Izquierdo) Maria and Varo, (Abridged). Leonora Carrington CANNIBALISM ZHDANOV (in the atemporality of plot)(in the atemporality the Fernando and Botero (the treatment Lezama Lima and Godofredo iommi as poets or “theorists” are still or “theorists” poets still are as Godofredo and iommi Lima Lezama In Colombia she compared Garcia Marquez to Alejandro Obregon Obregon Alejandro to Marquez Garcia compared she Colombia In Ronaldo Brito in Rio de Janeiro exchangedRonaldo Rio ideas Brito worked has in and very Borges, after his father, Alejandro Xul Solar was the most father, the his persistentBorges, was Solar after Xul Alejandro Zurita integrates the multidisciplinary Chilean group CADA Chilean multidisciplinary integrates the Zurita Monica Castillo and Sylvia Ordonez, among Sylvia others) and with Monica deal Castillo overtly Nerval could Romero added. be Nerval Brest opened space for the ex free Central Committee’’,Central of charge V. S. said in was “Zhdanov Utechin, Geraldo de Barros and others) and deGeraldo Barros (See GRAMSCI pres is the though, “More Tunga important that, Caldas. written has Gullar for the organization of their thought. Since of 1970’s, early for their the organization the Gullar imagination, as in the Surrealism of Mexico (Frida Kahlo, Remedios Kahlo, of (Frida Mexico Surrealism the in as imagination, identified with some painting and literature, such as Guayasamin literature,and suchas Guayasamin somewith painting identified interwoven in Brazil with Poesia Concreta (Décio Pignatari, Haroldo Poesia Pignatari, Concreta with (Décio Brazil interwoven in laborative works Julio others. Plaza Poet and Hélio by Raul Oiticica, later or for to Fuentes Cuevas, Pedrosa for Mario Cuevas.” Brazil In aids comparable officiating by to Pay for rituals the in and Tamayo, nent of baroque. the However, which examples in there several are bal vacuum”, said Brazilian sculptor Sergio Camargo in this conti this vacuum”, in bal sculptor Camargo Sergio Brazilian said the female presence in art and life, with the tradition of the country of country the tradition the with female life, presence the and art in the indigenousthe themes of Traba Fernando painter de Szyszlo. Marta Westphalen Emilio to Peru, critic Pedrosa. gave the support In his to the artists of group, much the very are indebted Ferreira artists poet tothe the work the Traba of “The Ismael cases Nery. many in Marta that said Antrofopago The (1928) Manifesto the de Andrade. Oswald writer by been adecisive has element critic art or an a with dialogue the found in the fundamentals of work.” the found fundamentals the in To and Bataille list this ence Russel Poe of Raimond or others. However, among Edgar many cian, member of the Politburo. “In his capacity as secretary of the member secretary as of Politburo.cian, the capacity his “In Neoconcretism desystem. Janeiro, Rio among Lygia in and Clark cies (with Rocio Maldonado, Dulce Maria Nunez, Georgina Quintana, Quintana, Nunez, Georgina cies Maria Rocio (with Dulce Maldonado, tenden mentalist new funda domestic the Mexico In environment. of “normality” that is given to verisimilitude). Poetry and art were to is given verisimilitude). art that and Poetry of “normality” Tunga, Camargo, Sergio closely with Eduardo Sued Waltercio and established ethical standards through in-depth dialogue with the art art the with dialogue in-depth through standards established ethical of sorcerers the failure wereonly followed they not is that perfectly “Anthropophagi” modernism, moment (See crucial of Brazilian The individuals. contribution of certain formation to the of art the periment in Argentina for decades, in a position in many ways similar similar ways for aposition in many decades, Argentina in periment in person in his memory: “Xul has lived recreating the universe”. recreating lived the has “Xul memory: person his in development to the important Mendes was Murilo poet of Brazil in and with desire. repeat broad the presence They with and and of female gaze the and Huasipungoand Ecuador, respectively in Vallejo and Szyszlo Peru. in and Augusto de Augusto and Campos), Concretism Cordeiro, (Waldemar with . “I insistently recommend, in face of the plastic-fact, the ver the insistently. “I recommend, of plastic-fact, face the in . Andrey Aleksandrovich (1896-1948). Aleksandrovich . Andrey Russian politi ) had its starting point in the paintings by Tarsila by paintings the point in do its starting ) had ), as well as with col ), with well as as . For ------pág 57/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Arenal. Other printmakers to join the printmakers Other Arenal. ZOOLOGY (Lopez de Gomara, 1551) with “fishes that fly’’ can be compared with bewith can compared “fishesfly’’ that 1551) with de Gomara, (Lopez Posada, Muralism and prints of the German Expressionists. of German prints the and Muralism Posada, Luis Bendit has worked with mini zoos, where (c.1971) zoos, ants and rats worked mini Luis Bendit has with Fernandez Bustos, Iedesma, Roberto Montenegro, Garcia Francisco Roberto Berdecio, Angel Bracho,Beltram, Castro-Pacheco, Jean Realism in the arts, replacing the historiographical campaigns campaigns historiographical the replacing arts, the in Realism However, according discussions to the of America Borges, Latin End projective to reinforce human character. that violent The Mariano Paredes, Gonzalo de Paz-Perez, Paredes, la Gonzalo Mariano Everardo Ramirez, IsidoroMora, José Ocampo, Celmente Orozco, Orozco Romero, Mathias Goeritz precedes Minimalism as much, it has been said, much, as been said, it has precedes Goeritz Minimalism Mathias Charlot, Chavez Morado,Charlot, Jesus Francisco Dosamantes, Escobedo, Guilt. After all, a painting was called The Mirror at the Stairway’s Stairway’s at the Mirror The called was apainting all, After Guilt. Siqueiros and Alfredo Zalce. The main influencesthe TGP on main Siqueiros Zalce. The Alfredo and jectivism’ in scholarship” in jectivism’ major 620). the (p. reac America Latin In in Mexico in 1937 Mexico in in Leopoldo by LuisMendez, and Pablo O’Higgins rical animals in sidereal in space”, (1963-66) animals rical conforms Bestiary to the creation.largely He his introduced school obligatory the of Socialist were Stalinism of elements ideological the and affairs, ideological human beast”,human Brito adds fur Ronaldo says Brito. painting, critic His neo-expressionist painting of Brazilian Ibere Camargo, has the as the has Camargo, Ibere of Brazilian neo-expressionist painting the Amazon. One thousand, four hundred-fifty species of butterflies four One thousand, hundred-fifty Amazon. the presentthe in live of species estimates science: of insects million 30 tion to this orientation been Taller has tion to this de Grafica Popular, founded tion ofWest—the ego the the in the In Principle of Individuation. ther, which differentiation ofand differentiation applies dialectic the feeling of strangeness. (See Argentinian the UNIVERSE to an “other figuration” of man. The quality of these disordersof “otherTheto is an met quality figuration” man. of submitted to knowledge under the perspective of a “natural history” submitted to history” knowledge of under a“natural perspective the exploitation in the conformation of subjectivity. A series of “chime of series A subjectivity. of conformation the in exploitation char investigative space. The forsearch food inside alabyrinthine seems to discuss viscerally the notion key to the cultural construc notion the key cultural to the seems to viscerally discuss Argentinian mythology. of Mexican patterns archetypal and chaisms of Toledo Bestiary The would denote then animal. ar of cultural the included that chickens, lizards, cockroaches, of common animals Macondo, in where more many than found be Peru, certainly in can of Argentinian Jorgeof de Vega. Argentinian la Mercedes observes how Casanegra sal abstract bestiary”. The constructed (1953)Serpent constructed The bestiary”. abstract sal Mexican by envisioned Torres-Garcia, by the correspondence finds of a “univer for nightingale, a invoke to ornithology national exclude even could parrots, pigs, piranhas, snakes, tapirs, turtles and wolves, and should be turtles snakes, tapirs, pigs, piranhas, parrots, perspective of the history of culture, the universal abstract man, as as man, abstract universal the of culture, of history the perspective pect of cave inscriptions, “witnessing the primitive perplexity of the perplexity primitive the of “witnessing cavepect inscriptions, acter of his work of his acter and as a such finds behaviours notion of territory and arts the ’formalism’in influences,’ob Western against cultural as Colombia ranks as the country with the largest diversity of largest birds. the diversity with country Colombia the as as ranks aphorical of human conflicts: The Indecision, The Schyzobeast, The Indecision,TheThe Schyzobeast, aphorical conflicts: of human approach an establishelliptical andmateriality conflicts anamorphic as Pre-Columbian serpent symbolism and pyramidal architecture architecture pyramidal and serpent Pre-Columbian symbolism as . “Hay peces que. “Hay volan”, astonishment the of aconqueror TGP : Raul Anguians, Alberto Alberto Anguians, : Raul ). A Zoology ). AZoology were were ------pág 58/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Vater deals with the relationship between contemporary society and and Vater relationship society contemporary the between with deals INSULARIZATION voke negation by addition, where voraciousness may transform itself itself transform may voraciousness where addition, by negation voke (=tapir), orous is anon-carniv totemic character,and, non-conflictive Lygia Pape aBox made of Cockroaches (1960’s) ento the where all Kamaiura. In Brazilian modernism, the nationalist movement nationalist the modernism, “Anta” Brazilian In Kamaiura. Mavutsinim and the origin of the Sun and Moon of Sun and the Twins origin the and among the Mavutsinim Carioca) in the form of a parrot. Unconsciously formCarioca) the of aparrot. in is adouble this mir Otherness. In Colombia, Ospina uses meta In the Nadin contemporary Otherness. ganism”, 1962) The Lygia Bichos Clark. the in (Animals, of Brazilian in an environment of braids of an snakesin (gender, venom/anti-venom), inevitable: a stuffed pig. would Acceptance jurors the astuffed mean inevitable: were ac in of insects (the the organization formalist characteristics mological act an it work from the caricaturist, of J. major the Carlos, Brazilian but took Disney not did that create Carioca, Ze actually been said has presented are mimesis (the with ror: parrot), Brazilians whereas it nature, via television as a diagram of the critical dimension towards of critical the television adiagram as via nature, in the critical path. The sharp teeth of the piranhas would applied be of piranhas the teeth sharp The path. critical the in into suffocation by excess by into Cardoso suffocation food. could approached be the by transforma tive process of the lizard as an emblem an process as tive of capacity of lizard the transforma the identity, an assumes as Ramos the Miranda Ibrahim artists. tion by the transparent container) transparent the were unable to overcome arepulsive pres of governmental power. were diagrams as institutions taken art the (Ze market ofthe comics, Walt character Disney created aBrazilian to cut the Equator line in the proposition of Barrio in Brazil. Ashoal proposition the to Brazil. Equator cut in the in line of Barrio suggestionthe Perception of title”, the finds no artist. addsthe rest ofto Waltercio Reasoning “Don’t Caldas. let yourself misled be by wheretasm, phenomenology, eschatology, pseu and do-sci language foreign interventionism isolationism.teenth and century, (See with through oppositionthrough tapir, (1978). the like fauna, is dislo native The distinguish art from the appearances of appearances from the apig. seemed to Leirner be art distinguish jurors the could not would signify Refusal apig lieu ofcepting in art. undergoes lizard’s the camouflage like ofappropria nature, quality is also for experience individual, immanent each Time,of an time. sented the jury of an art salon with a dilemma in which failure was was failure which in adilemma salon with art of an sented jury the Nelson groveence sacred 1968, of museum. the the pre In in Leirner scribed fantastic levels, where any morphological description can be be can description morphological any where levels, fantastic scribed (seesects ESCHATOLOGY double-headed impassesshit-rolling and snakes of polarization, in and enter synthesis innominablein an contagion”ence“mutual find since nine country, the his of faced, Cuba, survival of cultural the of plagiarism. During the fierce years of the Brazilian dictatorship, fierce the the Brazilian years of During of plagiarism. like mythology, a rich has tapir The indigenouscated from the myth. present in the intricate game of planar dimensions, like a “living or dimensions, a“living like present of planar game intricate the in is aflux it still And space” in of modern art. preceded “drawing the of piranhas (1991)of piranhas Fernanda work the pro in Cardoso, of can Maria economics of Cildo Meireles’ Neutralization through addition and and addition through Neutralization Meireles’ Cildo of economics phor of the tapir for anthropological investigations. Parrots became became Parrots investigations. anthropological for tapir the of phor a move in North American cultural diplomacy and an expansion of expansion an and diplomacy cultural a move American North in Second the World for During mimicry. symbol a universal War, as at the end conserva tive. In her Electronic Nature, Brazilian Regina Regina her In Nature, Brazilian Electronic tive. endat the conserva a false statement. A turtle impaled with an icon tube is the Invitation icon Invitation is an the tube with impaled statement.a false Aturtle ). Tunga field to the fan of character this brings ). The zoology of Tunga zoology ). The unde dwells in ------pág 59/59 Periódico Permanente The Incomplete Glossary of Sources of Latin American Art Nº 9 / abril/2021 Adorno: does “It does not how he matter intellectual the does, what Jorge Luis Borges) one each of “on could us, include Hamlet, Prince Totem—Monument Political to Prisoner the (1970). acom There was Meireles chickens live set TheTiradentes: called onwork fire. was Gonzalo Diaz’s “YoGonzalo soy el installation Sendero besame Luminoso, mucho”, Hobbesian coyote the the man-as-the-wolf-of in recalls man, nected to the Freudian totemic meal: cannibalism as a primitive ap aprimitive as Freudian tonected the totemic cannibalism meal: independence) to Totem. of monuments con architecture be can This is wrong’’ (p.86). Against the extremes of political violence, Cildo of political extremes the Against (p.86). is wrong’’ be nothing compared to the fact that in Latin America The Manual Manual The America Latin in that compared nothing be fact to the the rehabilitation of the character of oppression. rehabilitationthe of character the might Yet, this all the whole,the universe”. the almost come The Book of Imaginary Beings, which, according author to the which, Beings, come of Book Imaginary The (1957)of Fantastic Zoology took ten to only years be to enlarged be operating within the aphorisms of the Minima Moralia of Theodor Moralia aphorisms the of Minima the within operating propriation of the qualities that belongedpropriation that of qualities the to way aperson, same the plexity of references from Tiradentes (Brazilian national martyr for of martyr references national plexity from Tiradentes (Brazilian and give visibility to torture. The political zoology is reaffirmed in is reaffirmed zoology political The to torture. visibility give and therights chickens of for a claim wouldmake sacrifice human the as - - - -