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Artelogie, 15 | 2020, “Latin American Networks: Synchronicities, Contacts and Divergences.” [Online], Online Since 07 April 2020, Connection on 12 March 2021 Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 15 | 2020 Latin American networks: Synchronicities, Contacts and Divergences. Réseaux artistiques latino-américains : synchronicités, contacts et divergences. Electronic version URL: http://journals.openedition.org/artelogie/4371 DOI: 10.4000/artelogie.4371 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Artelogie, 15 | 2020, “Latin American networks: Synchronicities, Contacts and Divergences.” [Online], Online since 07 April 2020, connection on 12 March 2021. URL: http://journals.openedition.org/ artelogie/4371; DOI: https://doi.org/10.4000/artelogie.4371 This text was automatically generated on 12 March 2021. Association ESCAL 1 Understanding originality and innovation to be proposals that contribute to the interpretation of change and to the formation of a transnational field of art and visual culture from Latin America, this dossier for Artelogie investigates tensions between the historical avant-gardes of the early twentieth century, both in Latin America and Europe, and the neo avant-gardes that emerged globally between 1960 and 1990, approximately. The relationship between these vanguards has been fraught by theoretical and methodological difficulties posed by scholarly literatures that have assessed these phenomena, themselves by no means homogenous or coordinated, mostly in terms of derivation and creative exhaustion. This assessment has originated from the so-called centers of the art world and early universalist theories of the avant- garde rather than from their local places of art making and its circulation. These largely Eurocentric claims have foreclosed analysis of the historical significance of key moments in postwar art and their critical and innovative potential in comparative terms. The reappearance of collage and assemblage, and of grid and monochromatic painting, to name only a few avant-garde techniques, was a self-reflexive return, offering a critique of postwar societies. Neo avant-gardes consciously forged formal and informal networks that linked colleagues and strategies beyond their local scenes or nationalist histories. With this dossier we seek to investigate temporal, spatial, formal, and thematic synchronicities that emerge from both contact and divergence among artworks, artists, critics, curators, and other cultural agents. Through their critical comparison we expect to produce conceptualizations of postwar art history that generate and invert rather than merely add to dominant narratives to date. EDITOR'S NOTE Entendiendo la originalidad y la innovación como propuestas que contribuyen a la interpretación del cambio y la formación de un campo transnacional, este número de Artelogie explora las tensiones entre las vanguardias históricas de principios del siglo XX (tanto latinoamericanas como europeas) y las neo-vanguardias que surgieron entre 1960 y 1990, aproximadamente, en el arte latino y latinoamericano. Hasta el presente esta relación ha estado plagada de dificultades teóricas y metodológicas planteadas por literaturas académicas que han evaluado estos fenómenos, que de ninguna manera son homogéneos o coordinados, sobre todo en términos de derivación y agotamiento creativo con respecto a los centros hegemónicos del mundo del arte. Esta perspectiva ha excluido el análisis del significado histórico de los momentos clave en el arte de la posguerra y su potencial crítico e innovador en términos comparativos. La reaparición del collage y el assemblage, y de la pintura abstracta y monocromática, por mencionar solo algunas técnicas vanguardistas, implicó un retorno autorreflexivo que ofreció una crítica de las sociedades de la posguerra. Los artistas de vanguardia forjaron conscientemente redes formales e informales que vincularon artistas y estrategias más allá de sus escenarios locales o historias nacionales. Con el presente dossier buscamos investigar estas sincronicidades que surgen tanto del contacto como de la divergencia. A través de su comparación crítica, esperamos producir conceptualizaciones de la historia del arte de la posguerra que generen e inviertan las denominaciones que ordenan la historia del arte, en lugar de simplemente agregar artistas a las narrativas globales que dominan hasta el presente. Artelogie, 15 | 2020 2 TABLE OF CONTENTS Réseaux artistiques latino-américains : synchronicités, contacts et divergences. George F. Flaherty and Andrea Giunta Geometry and movement, Latin Americans in the International Art Network Maria Cristina Rossi Far from Good Design: Social Responsibility and Waldemar Cordeiro’s Early Theory of Form Adele Nelson Mário Pedrosa, un parcours moderne 1900-1981 Jacques Leenhardt Conceptualism in Transit: Horacio Zabala's Maps Luiza Mader Paladino A Conceptual Definition of the Artist’s Book and A New Look at Ulises Carrión’s Thinking Paulo Silveira José Gómez Sicre and his Impact on the OAS’ Visual Arts Unit: For an International Latin American Art Ivonne Pini and María Clara Bernal The Brazilian Cultural Mission and the Arte Nuevo Group: A Regional Dispute for Cultural Hegemony and Paraguayan Modern Art Charles Quevedo. Stitching the Social Fabric against Violence and Oblivion. The Embroidering for Peace and Memory Initiative Revisited through the Lens of Caring Democracy. Katia Olalde Rico. Entretien(s) Traducir la impenetrable. Una conversación con Julieta Hanono Andrea Giunta Translate the impenetrable. Conversation with Julieta Hanono Andrea Giunta Traduire l'impénétrable. Entretien avec Julieta Hanono Andrea Giunta Comptes rendus / Partenariat Critique d'art The Art of Solidarity: Visual and Performative Politics in Cold War Latin America, edited by Jessica Stites Mor and María del Carmen Suescun Pozas (Austin: University of Texas Press, 2018). George F. Flaherty Emiliano Zapata después de Zapata, VARGAS Santiago, Luis (editor), 2019, México, Secretaría de Cultura, Instituto Nacional de Bellas Artes y Literatura, Museo del Palacio de Bellas Artes, Fundación Jenkins. Uriel Vides Bautista Artelogie, 15 | 2020 3 Art Museums of Latin America. Structuring Representation. Edited by Michele Greet and Gina McDaniel Tarver. (London, Routledge, 2018). Paula Bauer Touched Bodies: the performative turn in Latin American Art, Mara Polgovsky Ezcurra, New Brunswick, New Jersey, Rutgers University Press, 2019. Agustin R. Díez Fischer Intramuros: Palimpsestos sobre arte y paisaje, Nathalie Goffard, Editorial Metales Pesados, Santiago de Chile, 2019. Sebastian Vidal Podría ser yo. Los sectores populares urbanos en imagen y palabra, Elizabeth Jelin y Pablo Vila con fotografías de Alicia D’Amico, Buenos Aires, Asunción, 2019, 153 páginas. Edición doble con un nuevo volumen de ensayos de Sergio Caggiano, Ludmila Da Silva Catela, Elizabeth Jelin, Francisco Medail, Juan Cruz Pedroni, Agustina Triquell y Pablo Villa, 112 páginas. Georgina G. Gluzman Varia De Europa a América: la obra critica de Marta Traba y sus evoluciones Elsa Crousier Diego Rivera et Élie Faure : Contributions du peintre à la critique française des arts du Mexique ancien María Isabel Quintana Marín Artelogie, 15 | 2020 4 Réseaux artistiques latino- américains : synchronicités, contacts et divergences. Latin American Networks: Synchronicities, Contacts and Divergences George F. Flaherty and Andrea Giunta Revised by Jane Brodie 1 Understanding originality and innovation to be proposals that contribute to the interpretation of change and to the formation of a transnational field of art and visual culture from Latin America, this dossier for Artelogie investigates tensions between the historical avant-gardes of the early twentieth century, both in Latin America and Europe, and the neo avant-gardes that emerged globally between 1960 and 1990, approximately.1 The relationship between these vanguards has been fraught by theoretical and methodological difficulties posed by scholarly literatures that have assessed these phenomena, themselves by no means homogenous or coordinated, mostly in terms of derivation and creative exhaustion. This assessment has originated from the so-called centers of the art world and early universalist theories of the avant- garde rather than from their local places of art making and its circulation. These largely Eurocentric claims have foreclosed analysis of the historical significance of key moments in postwar art and their critical and innovative potential in comparative terms.2 The reappearance of collage and assemblage, and of grid and monochromatic painting, to name only a few avant-garde techniques, was a self-reflexive return, offering a critique of postwar societies. Neo avant-gardes consciously forged formal and informal networks that linked colleagues and strategies beyond their local scenes or nationalist histories. With this dossier we seek to investigate temporal, spatial, formal, and thematic synchronicities that emerge from both contact and divergence among artworks, artists, critics, curators, and other cultural agents. Through their critical comparison we expect to produce conceptualizations of postwar art history that generate and invert rather than merely add to dominant narratives to date. Artelogie, 15 | 2020 5 2 Instead of thinking about Latin American art in terms of periphery or decentralization, concepts that are generally used to underscore the differences between modernization processes, avant-gardes, and neo avant-gardes as they took shape in Latin America as opposed to in North America and Europe (think of peripheral modernity or decentralized
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