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Статті в журналах з теми "Contemporary Latin American Art":
1
Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
Анотація:
The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.
2
Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (October 20, 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
Анотація:
This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
3
Barberena, Elsa. "Latinoarte: information on Latin American art." Art Libraries Journal 20, no. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.
Анотація:
Latin American culture is very rich, yet there is insufficient documentation on Latin American art, and much of the documentation which does exist is not adequately covered by the major art indexes. A number of magazines have set out, especially since the 1940s, to disseminate information about Latin American art, but most have been short-lived. The LATINOARTE project, based in the Facultad de Filosofía y Letras at the Universidad Nacional Autónoma de México (UNAM), aims to develop and to network a database including citations to documentation available in 62 libraries and information centres inside and outside Latin America. Already, some 1,500 records are available on contemporary Latin American art. (The edited text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994.)
4
Fares, Gustavo. "Brief Considerations on Latin American Contemporary Art." Janus Head 2, no. 1 (1999): 119–29. http://dx.doi.org/10.5840/jh19992122.
5
Sepúlveda, Gabriela Aceves. "Encounters with “Latin American Art” in Canada." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
6
Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
7
Robin, Alena. "Colonial Art from Spanish America in Québec." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
8
Sáenz, Daniel Santiago. "Artistic Responses to Coloniality in the Americas." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
9
Toledo, Tamara. "Sur Gallery." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
10
Alvarez Hernandez, Analays, and Alena Robin. "Introduction to the Dialogues on Latin American Art(ists) from/in Canada." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.
Анотація:
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
Дисертації з теми "Contemporary Latin American Art":
1
Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
Анотація:
Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
2
Aguirre, Lina. "ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.
3
Sánchez-Velandia, Elena. "Réflexions pour une philosophie mineure : autour du conceptualisme latino-américain." Electronic Thesis or Diss., Amiens, 2017. http://www.theses.fr/2017AMIE0042.
Анотація:
Peut-on faire de la philosophie dans l'art ? Nous n'en donnons pas une réponse négative ou affirmative ; nous proposons plutôt trois zones d'indiscernabilité entre art et philosophie : le concept, l'écriture, la praxis. Le concept : nous étudions la question du concept à partir de la conceptualisation que Luis Camnitzer en fait principalement dans son livre "Didáctica de la liberación. Arte conceptualista latinoamericano". Dans ce texte Camnitzer cherche à décentrer la lecture du conceptualisme en partant de l'Amérique Latine. Nous essayons d'étudier les conséquences philosophiques de ce décentrement qui implique de revoir la relation entre des termes comme esthétique, concept, intellect... L'écriture : pour Camnitzer, un précurseur du conceptualisme artistique serait le philosophe vénézuélien Simon Rodríguez (1771-1854) le maitre de Bolívar. Rodríguez savait que la libération politique de l'Amérique devait être accompagné par une décolonisation culturelle. Ainsi Rodríguez se proposa de décoloniser la philosophie à travers l'écriture. L'écriture du philosophe vénézuélien rompt avec l'espace linéaire et homogène de la page typographique qui répond au modèle classique du discours : un discours linéaire, hiérarchique et irréversible sur lequel, selon Rodríguez, se fonde la pensée coloniale. Praxis : deux sens de la relation entre philosophie et praxis nous intéressent ici : la philosophie comme "exercice spirituel" (comme dirait Pierre Hadot), comme "esthétique de l’existence" (comme dirait Michel Foucault) et la philosophie comme praxis politiqueCan we make philosophy in art ? We do not give a negative or affirmative answer ; rather, we propose three zones of indistinguishability between art and philosophy : the concept, the writing, the praxis.The concept : we study the question of the concept from the conceptualization that Luis Camnitzer does mainly in his book "Conceptualism in Latin American Art. Didactics of liberation". In this text Camnitzer seeks to decentralize the reading of conceptualism based in Latin America. We try to study the philosophical consequences of this decentering which involves reviewing the relationship between terms such as aesthetics, concept, intellect ...Writing : for Camnitzer, a forerunner of artistic conceptualism would be the Venezuelan philosopher Simon Rodríguez (1771-1854) the master of Bolívar. Rodríguez knew that the political liberation of America had to be accompanied by cultural decolonization. Thus Rodríguez proposed to decolonize philosophy through writing. The writing of the Venezuelan philosopher breaks with the linear and homogeneous space of the typographic page that responds to the classical model of discourse : a linear, hierarchical and irreversible discourse on which, according to Rodríguez, colonial thought is based. Praxis : two senses of the relationship between philosophy and praxis interest us here : philosophy as "spiritual exercise" (as Pierre Hadot would say), as "aesthetics of existence" (as Michel Foucault would say) and philosophy as political praxis
4
Paz, Moscoso Valeria. "Roberto Valcárcel : renaming repression and rehearsing liberation in contemporary Bolivian art." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/17659/.
Анотація:
This study analyses the invisible forms of repression in the Bolivian art system by interpreting Roberto Valcárcel’s artwork in the light of Herbert Marcuse’s ideas on repression and liberation as expounded in Eros and Civilization. It considers, on the one hand, Valcárcel’s artwork in relation to the liberating role that Marcuse attributes to art (via phantasy, polymorphous eroticism, and Orphic paradigm). On the other hand, it explores the strategies devised by Valcárcel against repression, such as self-promotion, multiple texts, play, humour and unmasking certain repressive truths. The reading of Valcárcel’s work via Marcuse is supported by archival research from contemporary newspapers, exhibition documentation and Bolivian art history, which provide relevant information about the sorts of latent repression to which Valcárcel’s artworks responds. The dissertation is organised in five chapters in which examples of repressive beliefs are unveiled. Chapter One examines El Movimiento Erótico (The Erotic Movement, 1983) and the manifold strategies used by Valcárcel to escape the traps of a presumed type of sexual liberation (sexist and genital oriented) and capitalism’s culture industry. Chapter Two discusses artworks where the intentional construction of open meaning challenges the norm of a univocal creation and consumption of art. Chapter Three studies some of Valcárcel’s humorous identities in contrast with the dramatic, and overly serious self-perception of Bolivians artists. Chapter Four explores Valcárcel’s use of play, black humour and deceit as effective devices to escape hidden authoritarianism in society during dictatorial regimes. Chapter Five analyses how Valcárcel’s work unveils the latent repression in the idealisation of indigenous heritage through play and anti-thesis. The dissertation introduces a new topic into the study of art in Bolivia – veiled repression – at the same time that it sheds light on the potential of the artwork of Roberto Valcárcel to open new ways of historicizing and thinking about art in Bolivia.
5
Petrus, John Stephen. "Gender Transgression and Hegemony: the Politics of Gender Expression and Sexuality in Contemporary Managua." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429609857.
6
Medici, Antonella. "Romper el Marco. Memoria y producción artística en la postdictadura uruguaya 1985-2005." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/669958.
Анотація:
La presente tesis doctoral titulada Romper el Marco. Memoria y producción artística en la postdictadura uruguaya 1985-2005 gira en torno a la relación entre memoria y prácticas artísticas en el marco de la postdictadura uruguaya. Situada en un campo interdisciplinario que incluye tanto los Estudios de Memoria, los Estudios Visuales y la Historia del Arte, como también las teorías sobre el testimonio, la experiencia concentracionaria y la tortura, esta tesis se centra en estudiar los regímenes estéticos que operan alrededor de las experiencias límite de la dictadura cívico-militar (1973-1985) -como la prisión política, la tortura y la desaparición- en las prácticas artísticas de la postdictadura uruguaya, periodo que situamos entre 1985 y 2005. El objetivo de esta tesis es elaborar un análisis de las relaciones entre memoria y trauma desde la práctica artística en postdictadura a través del trabajo de una serie de artistas y creadores que consideramos paradigmáticos -Horacio Faedo, Luis Camnitzer, Clemente Padín, Ernesto Vila y Jorge Tiscornia- cuyo trabajo nos permite investigar sobre la dimensión política de la memoria en este contexto.
Para el caso uruguayo, pensar el lapso que va de 1985 a 2005 como período postdictatorial centra la atención en el legado de la dictadura y las transformaciones con respecto a dicho tiempo histórico. La coyuntura fragmentaria postdictatorial, consecuencia de la desestructuración social provocada por la prisión política, la tortura, la desaparición, el exilio y el insilio, hizo que las formas de elaboración cultural y estética de la memoria también estuviesen relacionadas a estos fenómenos y sus efectos en la reconfiguración de las subjetividades políticas y colectivas. A diferencia del frenetismo de los productos derivados del “boom” de la memoria que inundaron los años noventa en países como Alemania, Estados Unidos o Argentina, en el contexto uruguayo no hubo un “exceso” ni una “hipertrofia” de la memoria, aludiendo a Todorov y a Huyssen, sino que ha existido una lucha desde los inicios de la transición democrática por el derecho y la legitimidad de la palabra.
Muchas de las prácticas artísticas que se han desarrollado desde entonces han enfatizado dichas tensiones y materializado la pluralidad y complejidad de la memoria del pasado reciente frente a las políticas oficiales del postconflicto en esta geografía. En esta tesis entendemos que para la producción artística uruguaya del período postdictatorial la memoria no compone un tema sobre el cual trabajar, sino que constituye un lugar de enunciación, un sistema discursivo y estético que es un posicionamiento político en sí mismo. La hipótesis de partida para esta investigación se basa en la consideración de la práctica artística como ejercicio estético y político, como forma de resistencia y como forma de memoria. La producción artística como lugar de memoria tendrá la capacidad de elaborar diversos procesos de sutura, tanto en el plano de lo subjetivo y colectivo, que será, a su vez, parte constitutiva de la dimensión política de estos regímenes estéticos. El período postdictatorial estará atravesado por modos particulares de abordar, desde la producción artística, la desarticulación de lo social, lo subjetivo, lo afectivo, lo político y lo identitario. Entender el golpe de Estado como “quiebre de la representación” implica asumir la necesidad de construcción de nuevos sistemas y configuraciones de lo sensible que, en la postdictadura deberá plantearse, además, en un escenario radicalmente diferente, definido por la coyuntura del neoliberalismo y de la globalización.This doctoral thesis titled Breaking the Frame. Memory and artistic production in the Uruguayan post-dictatorship 1985-2005 revolves around the relationship between memory and artistic practices in the context of the Uruguayan post-dictatorship. Located in an interdisciplinary field that includes both Memory Studies, Visual Studies and Art History, as well as theories about testimony, concentration experience and torture, this thesis focuses on studying the aesthetic regimes that operate around the borderline experiences of the civic-military dictatorship (1973-1985) - such as insile, exile, political prison, torture and disappearance - in the artistic practices of the Uruguayan post-dictatorship, a period that we place between 1985 and 2005. This thesis aims to elaborate an analysis of the relationships between memory and trauma from artistic practice in post-dictatorship through a series of paradigmatic artists and creators - Horacio Faedo, Luis Camnitzer, Clemente Padín, Ernesto Vila and Jorge Tiscornia - whose work allows us to investigate on the political dimension of memory in this context. The central hypothesis of this research is based on the consideration of artistic practice as an aesthetic and political exercise, as a form of resistance and memory. Understand artistic production as a place of memory implies the capacity to elaborate various suture processes, both at the level of the subjective and collective, which will, in turn, be a constitutive part of the political dimension of these aesthetic regimes. The post-dictatorial period will be crossed by particular ways of approaching, from artistic production, the disarticulation of the social, the subjective, the affective, the political and the identity. Understanding the coup d'état as a "breakdown of representation" implies assuming the need to build new systems and configurations of the sensitive that, in post-dictatorship time, must also be considered in a radically different scenario, defined by the situation of neoliberalism and the globalization.
7
Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
8
Pianowski, Fabiane. "Análisis Histórico del Arte Correo en América Latina." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/132091.
Анотація:
Rompiendo con los circuitos oficiales de las galerías y museos, el arte correo enuncia una nueva forma de circulación del trabajo artístico, que enfatiza sobre todo lo colectivo. Esta alternativa es la manera de circulación de propuestas artísticas e ideas. Este modo alternativo de circulación de las proposiciones/ideas artísticas enunciaba la idea de red que, posteriormente, con el adviento de Internet, se haría una cuestión altamente relevante para la contemporaneidad. En los años 1960 y 1970, el uso de los Correos como un medio táctico en el ámbito del arte está relacionado con la apropiación de los medios de comunicación por parte de las manifestaciones artísticas del periodo –un periodo en que la creación de redes y la comunicación eran fundamentales. El arte correo es un conjunto de diferentes estéticas, que tienen en el sistema postal tradicional su canal de expresión, apropiándose de ese canal de modo subversivo para configurarlo en un canal cultural alternativo de intercambio de mensajes artísticos. En la década de los setenta, el arte correo era considerado por algunos críticos e historiadores de arte como uno de los grandes fenómenos de la vanguardia internacional. Su amplia actuación, posibilitaba para los nuevos lenguajes artísticos el desencadenamiento de nuevas situaciones comunicacionales y estructurales, como por ejemplo el anonimato. El objetivo del arte correo es romper con el flujo unidireccional emisor-receptor de los medios de comunicación de masa, a través de la participación activa del espectador en la obra, socializando la autoría y diluyendo las fronteras que separan artista y público. De esta forma el arte correo democratiza el arte. Infelizmente, existen pocos estudios académicos acerca del arte correo, probablemente porque es un campo de estudio complejo, en el cual la información es difícil de conseguir. Es difícil precisar hechos y fechas. Los documentos y producciones son efímeros. A pesar de esto, en esta investigación se han analizado en profundidad las publicaciones en arte correo y las declaraciones de los artistas para entender sus conexiones y estrategias de comunicación, especialmente en el ámbito latinoamericano.Breaking away from the official circuits of art galleries and museums, mail art heralds a new era for the circulation of artistic work, which focuses primarily on the collective. This alternative means of circulation for artistic proposals and ideas brings forward the concept of network that would later, with the birth of the Internet, become a highly significant issue for contemporaneity. The use of mail in the 1960s and 1970s as a tactical instrument in the field of art relates to the appropriation of the means of communication by the period’s artistic manifestations – a period in which establishing networks and communicating were crucial cultural elements. Mail art is a collection of varied aesthetics, whose means of expression is through official mail. Mail art appropriates this means of expression in a subversive manner to configure an alternative cultural channel for the exchange of artistic messages. In the 1970s, some critics and art historians considered mail art as one of the great phenomena of the international avant-garde. In its broadest sense, its actions enabled the new artistic languages to trigger communicational and structural situations, such as for example the anonymity. The goal of the mail art community was to break away from media’s one-way sender-receiver flow, through the spectators’ active participation in the piece itself. That would socialize authorship and dilute the borders that divide the artist and the public. In so doing, mail art democratizes art. Unfortunately, there are few academic studies about mail art, probably because that field of study is obdurately complex, the information is difficult to obtain. It is difficult to accurate facts and datas. The documents and works were frequently intend as ephemera. In spite of that, in this study we analyse in depth mail artists’ publications and interviews to understand their communicational connections and strategies, particularly in the field of Latin America.
9
Merchant, Paul Rumney. "New constructions of house and home in contemporary Argentine and Chilean cinema (2005-2015)." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269407.
Анотація:
This thesis explores the potential of domestic space to act as the ground for new forms of community and sociability in Argentine and Chilean films from the early twenty-first century. It thus tracks a shift in the political treatment of the home in Southern Cone cinema, away from allegorical affirmations of the family, and towards a reflection on film’s ability to both delineate and disrupt lived spaces. In the works examined, the displacement of attention from human subjects to the material environment defamiliarises the domestic sphere and complicates its relation to the nation. The house thus does not act as ‘a body of images that give mankind proofs or illusions of stability’ (Bachelard), but rather as a medium through which identities are challenged and reformed. This anxiety about domestic space demands, I argue, a renewal of the deconstructive frameworks often deployed in studies of Latin American culture (Moreiras, Williams). The thesis turns to new materialist theories, among others, as a supplement to deconstructive thinking, and argues that theorisations of cinema’s political agency must be informed by social, economic and urban histories. The prominence of suburban settings moreover encourages a nuancing of the ontological links often invoked between cinema, the house, and the city. The first section of the thesis rethinks two concepts closely linked to the home: memory and modernity. Analysing documentary and essay films, Chapter 1 suggests some political limitations to the figure of the fragment which dominates scholarly discussion of memory in Latin America. Chapter 2 studies films which explore the inclusions and exclusions created by modernist domestic architecture. The second section focuses on two human figures found on the threshold of the home: the domestic worker and the guest. Chapter 3 analyses unorthodox representations of domestic work, and explores how new materialist approaches can enhance readings of the political potential of ‘art cinema’. Finally, in Chapter 4 I examine films depicting household visitors that upset urban class divisions, and question the possibility of ‘domestic cosmopolitanism’ (Nava 2006) in contemporary Latin America. My comparative analysis of these films explores a rupture between physical dwelling and imagined home that points towards new political practices in a neoliberal, post-dictatorship context.
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Montt, Strabucchi Maria. "Imagining China in contemporary Latin American literature." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/imagining-china-in-contemporary-latin-american-literature(39f1026f-5a85-4bd5-b9ac-db55a80d2e14).html.
Анотація:
Since the late 1980s, there has been a steady production of Latin American narrative fiction in Spanish concerning China and the Chinese. Despite the work written about China and its relation to Latin America, no comprehensive examination of the representation of China in literature has been produced thus far. This thesis analyses nine novels in which China is the main theme, exploring how China has been represented in Latin American narrative fiction in recent decades. Using 'China' as a multidimensional term informed by Sara Ahmed's understanding of 'strangerness' (2000), this thesis first explores how the novels studied here both highlight and undermine assumptions about China that have long shaped Latin America's understanding of 'China'. Secondly, using theories of the fetish, it shows 'China' to be a kind of literary/imaginary 'third' term which reframes Latin American discourses of alterity. On one level, it is argued that these texts play with the way that 'China' stands in as a wandering signifier and as a metonym for Asia, a gesture that essentialises it as an unchanging other. On another level, it argues that the novels' employment of 'China' resists essentialist constructions of Latin American identity. 'China' is thus shown here to be a symbolic figure in Latin America, serving as a concept through which criticism of the construction of fetishised otherness becomes possible, as well as criticism of the exclusion inherent in essentialist discourses of identity, such as those contained in mestizaje. These discourses of mestizaje have traditionally emphasised racial and cultural mixture, and have excluded the Chinese from discourses of Latin American identity. As a result, 'China' is used here to deconstruct bound identities, interrupting discourses of otherness within Latin America. From this perspective, it is argued that these novels tend to gesture towards an understanding of identity as 'being-with', and community as inoperative, as developed by Jean-Luc Nancy (1991, 2000), whilst taking a cosmopolitan stance, as developed by Berthold Schoene (2011). The novels have been divided between those that set their stories in China, such as Cesar Aira's 'Una novela china' (1987); those that explore Chinese communities in Latin America, such as Ariel Magnus' 'Un chino en bicicleta' (2007); and those that focus on Latin American travel to China, such as Ximena Sanchez Echenique's 'El ombligo del dragon' (2007). Indebted to Ahmed's, Nancy's and Schoene's theoretical perspectives, Chapter 1 explores how 'China', as both a physical space and a discursive context, foregrounds negotiations of power in the histories of both China and Latin America. Chapter 2 studies how 'China' is used to recall and interrogate the notion of an indistinct 'oriental'. The final chapter seeks to understand the ways in which the novels articulate travel to China as a means of challenging Eurocentric structures and 'national' epistemologies. Ultimately, by disclosing the complex operations through which 'China' is represented in Latin American literary discourses, this study explores possible further reconfigurations of Latin American notions of identity and community as non-essentialist and in constant development.
Книги з теми "Contemporary Latin American Art":
1
Stephanie, Hanor, Museum of Contemporary Art, San Diego., University of Rochester. Memorial Art Gallery., High Museum of Art, and Weatherspoon Art Museum, eds. TRANSactions: Contemporary Latin American and Latino art. La Jolla, CA: Museum of Contemporary Art San Diego, 2006.
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Stephanie, Hanor, Museum of Contemporary Art, San Diego, University of Rochester. Memorial Art Gallery, High Museum of Art, and Weatherspoon Art Museum, eds. TRANSactions: Contemporary Latin American and Latino art. La Jolla, CA: Museum of Contemporary Art San Diego, 2006.
3
Arturo, Lindsay, ed. Santería aesthetics in contemporary Latin American art. Washington: Smithsonian Institution Press, 1996.
4
Manson & Woods International Inc Christie. Latin American sale. New York: Christie's, 2003.
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Annick, Sanjurjo, and Organization of American States, eds. Contemporary Latin American artists: Exhibitions at the Organization of American States 1965-1985. Metuchen, N.J: Scarecrow Press, 1993.
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Miguel, Vásquez, and MASA Colectivo Gráfico, eds. Latino: America grafica : contemporary graphic design compilation. Berlin: Gestalten Verlag, 2002.
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Baddeley, Oriana. Drawing the line: Art and cultural identity in contemporary Latin America. London: Verso, 1989.
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Art, Neuberger Museum of. Destination: Latin America ; modern and contemporary Latin American art from the collection of the Neuberger Museum of Art. Purchase, New York: Neuberger Museum of Art, Purchase College, SUNY, 2018.
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Chile) Ch.ACO (4th 2012 Santiago. Feria de Arte Contemporáneo: Contemporary Art Fair. [Santiago, Chile]: Impreso por Ograma Impresores, 2012.
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Annick, Sanjurjo, and Organization of American States, eds. Contemporary Latin American artists: Exhibitions at the Organization of American States 1941-1964. Lanham, Md: Scarecrow Press, 1997.
Частини книг з теми "Contemporary Latin American Art":
1
Birbragher-Rozencwaig, Francine. "Contemporary Cuban Art." In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.
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Benezra, Karen. "Periodizing Latin American Art Since the 1960s." In Contemporary Art and Capitalist Modernization, 41–56. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003044345-3.
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Burdette, Derek S. "Exhibiting Contemporary Art in a Colonial Context at the Ex Teresa Arte Actual in Mexico City." In Adaptive Reuse in Latin America, 146–62. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003322221-14.
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Page, Joanna. "1. Bestiaries and the Art of Cryptozoology." In Decolonial Ecologies, 25–62. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.01.
Анотація:
Many twentieth-century Latin American writers – including Jorge Luis Borges, Silvina Ocampo, Juan José Arreola and Wilson Bueno – experimented with the form of the bestiary, adapting it to the fantastic genre or for the purposes of satire. This chapter focuses on the work of more contemporary writers and artists who draw on the themes and forms of the medieval bestiary in order to revitalize pre-Hispanic legends, to construct an alternative modernity that embraces plural ontologies, and to explore the changing relationship between humans and animals in the Anthropocene. The act of (re)imagining extinct and mythical animals takes on a particular poignancy in the context of the current rapid decline in biodiversity across the world. Indeed, as I argue throughout this chapter, the mediaeval bestiary acquires a new relevance in the context of the ecological and existential crisis that pervades the technologically developed, urbanized, globalized world. It offers alternative ways of thinking and imagining the world that have been excised from the modern, rationalist, Western standpoint, challenging ideas about human exceptionalism and promoting a view of the universe as intimately interconnected within relationships of reciprocity. At the hands of contemporary writers and artists such as Rafael Toriz and Edgar Cano (Mexico), Claudio Romo (Chile) and Walmor Corrêa (Brazil), Latin American bestiaries of the twenty-first century contest dominant images of a depleted, exhausted, fragile natural world, responding to the need to re-enchant nature in the face of its rationalization and commodification in Western modernity, to revalorize indigenous and popular approaches, and to reconnect animals with human social, cultural, and spiritual lives.
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Appel, Molly Dooley. "The Art of the Social Movement Corrective: On Redeeming the Human Rights Narrative in También la lluvia and Our Brand Is Crisis." In Human Rights, Social Movements and Activism in Contemporary Latin American Cinema, 157–81. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96208-5_8.
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Furtado, Gustavo Procopio. "Where Are the “People”?: The Politics of the Virtual and the Ordinary in Contemporary Brazilian Documentaries." In Latin American Documentary Film in the New Millennium, 115–31. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_7.
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de la Fuente, Juan Ramón. "The IAU and Contemporary Global Challenges: A Latin American Point of View." In The Promise of Higher Education, 21–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67245-4_4.
Анотація:
AbstractIn today’s world, in which the problems that affect us all are interconnected, global problems and global issues require global solutions. Pandemics, climate change, the growing waves of intolerance, inequality and migration are but some examples of the challenges that require a joint response. In a context where global, multiple stakeholders are needed to formulate efficient solutions to these global problems, universities must play a more active role. To this end, the IAU, the only truly global association of universities, offers a unique and important platform to foster that role.
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Corbet, David. "Decolonising the Exhibitionary Complex: Australian and Latin American Art and Activism in the Era of the Global Contemporary." In Mapping South-South Connections, 23–57. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-78577-6_2.
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Díaz-Duhalde, Sebastián J. "Interrupted Visions of History: Nineteenth-Century Illustrated Newspapers and the History of (Popular) Art in Contemporary Paraguay." In Authoritarianism, Cultural History, and Political Resistance in Latin America, 125–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53544-9_7.
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Tarzibachi, Eugenia. "The Modern Way to Menstruate in Latin America: Consolidation and Fractures in the Twenty-First Century." In The Palgrave Handbook of Critical Menstruation Studies, 813–31. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_59.
Анотація:
Abstract The introduction of commercialized disposable pads and tampons during the twentieth century changed the experience of the menstrual body in many (but not all) countries of the world. From a Latin-American perspective, this new way to menstruate was also understood to be a sign of modernization. In this chapter, Tarzibachi describes and analyzes how the dissemination and proliferation of disposable pads and tampons have unfolded first in the United States and later in Latin America, with a particular focus on Argentina. She pays particular attention to how the Femcare industry shaped the meanings of the menstrual body through discourses circulated in advertisements and educational materials. Tarzibachi explores how the contemporary meanings of menstruation are contested globally, as the traditional Femcare industry shifts its rhetoric in response to challenges from new menstrual management technologies, new forms of menstrual activism, and the increasing visibility of menstruation in mainstream culture.
Тези доповідей конференцій з теми "Contemporary Latin American Art":
1
Queiroz Barbosa, Eliana Rosa de. "Urbanismo contemporâneo: aportes teóricos, metodológicos e novas figuras conceituais para a América Latina." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6194.
Анотація:
O artigo parte de uma revisão teórico-conceitual dos elementos que compõem a interpretação contemporânea do urbanismo, de forma a introduzir a discussão seus aportes teóricos – forma urbana – e metodológicos – desenho urbano e projeto urbano. Tem como objetivo a elaboração de figuras conceituais que representem e expliquem a materialização das cidades latino-americanas, que, como apontou Waisman (2013), carecem de aportes teóricos próprios, recorrendo aos aportes do Hemisfério Norte, muitas vezes inadequados ao lidar com nossa peculiar realidade sociocultural e material, baseada na figura da Espontaneidade.
Inicialmente, recorre-se às diferentes interpretações acerca da disciplina, através da revisão da Historia, Teoria e Critica. Posteriormente, apresentam-se figuras conceituais, propostas como elementos mediadores entre a teoria e a prática do urbanismo em sua origem – aqui europeia – e a realidade da materialização das cidades brasileiras. The paper revises the contemporary urbanism´s theory and concepts as means of introducing its theoretical and practical approaches – urban morphology and urban projects. The main goal is to construct new concepts which represent and explain the latin-american cities´s materialization, which as pointed by Waisman (2013), lack of theorization of their own, relying on Northern Theory, many times not appropriated to the peculiar urban conditions socio cultural and materiality faced by southern cities. First we discuss the different interpretation of the discipline by means of Historic, theoretical and critical revision. In the conclusion, some conceptual figures are proposed, as mediating elements between theory and practice of urbanism in its European origin and the reality of Latin American cities.
2
Gironi, Roberta. "The Diagonal City: crossing the social divisions." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6266.
Анотація:
Roberta Gironi Departamento de Proyectos Arquitectónicos, UPV. Camino de Vera, s/n. 46022 Valencia Joint Doctorate Dipartimento di Architettura – Teorie e Progetto. “Sapienza” Università degli Studi di Roma. Via Gramsci, 53. 00100 Roma E-mail: roberta.gironi@gmail.com Keywords (3-5): Informal processes, dynamic transformation, new planning approach, flexible space, self-organization Conference topics and scale: Reading and regenerating the informal city Contemporary cities are affected by transformations that put in discussion the claim of control and stability to which the urban project aspires. All those gradual adjustments are manifested according to the demand, bring toward a less formal and more flexible spatial order, for which the traditional forms of the "static" city become the background of the "kinetic" landscape of informal cities. On the contrary of the formal processes of urban planning, informality process is configured as an organic development model and a flexible dynamic system opened to changes. The informal space is produced according to principles of spontaneity and self-organization. A consideration on the possibility to assume different approaches can be proposed. Those approaches should integrate in the design reasoning all the dynamics usually excluded by the discourse on the urban project, which processes can become catalysts to enrich the methods of planning and design of the urban space. Through the analysis of the case-study Previ Lima and the Living Room at the Border of St. Ysidro, the aim is to delineate in which way the contemporary architecture can absorb and metabolize these processes, triggering a different approach to a different method to intervene in the spaces of relationship among formal and informal. It is believed that the informal urban qualities cannot be eliminated and is impossible to ignore the inhabitants' practices, but rather to work on the intersection between collective and individual actions. References Brillembourg A., Feireiss K., Klumpner H. (2005), Informal City (Prestel Publishing, Munich) Cruz T. (2008), "De la frontière globale au quartier de frontière: pratiques d'empiètement", Multitudes, 31(1). Davis M. (2006), Planet of Slums (Verso, London). Hernandez F., Kellett P., Allen L.K. (2010), Rethinking the informal city: critical perspectives from Latin America (Berghahn books, New York, Oxford). McFarlane C., Waibel M., (2012), Urban Informalities: Reflections on the Formal and Informal (Ashgate, Farnham). Jacobs J. (1961), The death and life of great American cities(Random House, New York- Toronto). Roy A., Alsayyad N., (2004) Urban Informality: Transnational Perspectives from the Middle East, Latin America, and South Asia (Lexington Books, Lanham)
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Staiger, Jeff D. "The Forest, The Trees, The Bark, The Pith: An Intensive Look at the Circulation Rates of Primary Texts in Ten Major Literature Areas at the University of Oregon Libraries." In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317145.
Анотація:
This poster looks at the circulation rate for literary primary texts, which constitute a unique area of collecting in academic libraries: while they do not in most cases meet immediate research needs, it is assumed that libraries ought to acquire them, for reasons including future research needs, preservation of the cultural record, and the ability of members of the intellectual community to stay current, those these remain primarily tacit. The circulation trends of contemporary literary works in ten areas of literature (English, American, German, French, Italian, Spanish, Latin American, Chinese, Japanese, and Russian) over the past twenty years at the University of Oregon Knight Library are presented and the circulation turnover rate (CTR), for each of these subject areas are presented. Sample graphs allow for the comparison of circulation rates and numbers of books across time, and serve as examples of the utility of such visualizations of the numbers. The key question raised by the study is what makes a good CTR for a particular region of the collection? The poster concludes by summarizing the considerations that bear on the interpretation of the CTR as an index of how the collection is “working.”
4
Lopez Barrera, Silvina. "The Architectural Typologies of Latinx Housing Precarity." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.62.
Анотація:
Housing precarity in the Latinx community has been a persistent problem for decades in the United States. Trailer homes, mobile parks, barrack-like housing on farms, and substandard homes have influenced the experiences of generations of Latinx immigrants in the U.S. While these architectural forms may have been conceived as transient architecture, these housing typologies have become persistent through time and ignored from public debate. This paper explores the history of these precarious housing typologies and their role shaping Latinx spatial practices and lived spaces in rural America. Through spatial justice lenses this paper considers how precarious American housing typologies of the twentieth and twenty-first centuries have historically marginalized the Latinx community obscuring their presence. Using case studies from the 1942 Bracero Program to contemporary Latinx housing in rural Vermont and Mississippi, this paper examines the Latinx lived spaces and housing typologies from a historical perspective. Additionally, it explores the spatial implications and linkages between Latinx labor and housing. When their labor is conducted in remote rural areas and small towns, their presence is obscured often times living and working on the farms and putting up with substandard housing. Research methods include examination of architectural documentation such as historical and contemporary photographs and drawings and in-depth interviews with Latinx immigrants and advocates of the Latinx community. This paper provides an analysis of housing conditions and dwelling structures through history that have been overlooked by researchers and practitioners in architectural fields. Increasing barriers to access to adequate and affordable housing in the Latinx community are interconnected with their immigration status and their limited access to resources, resulting on access to a limited and deteriorating housing stock with unsafe and unhealthy conditions. Finally, this paper offers a deeper understanding on how the labor and immigration context has influenced housing patterns in small towns and rural places.
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"[Spine art]." In 2013 Latin American Computing Conference (CLEI). IEEE, 2013. http://dx.doi.org/10.1109/clei.2013.6670675.
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"[Cover art]." In 2008 IEEE Latin American Robotic Symposium. IEEE, 2008. http://dx.doi.org/10.1109/lars.2008.41.
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Ibañez Sandoval, Marita. "Nippo-Latin American Land." In SA '22: SIGGRAPH Asia 2022 Art Gallery. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550470.3558437.
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"[Spine art]." In 2017 XLIII Latin American Computer Conference (CLEI). IEEE, 2017. http://dx.doi.org/10.1109/clei.2017.8226369.
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"[Cover art]." In 2008 Latin American Web Conference (LA-WEB). IEEE, 2008. http://dx.doi.org/10.1109/la-web.2008.31.
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"[Cover art]." In 2009 Latin American Web Congress. LA-WEB 2009. IEEE, 2009. http://dx.doi.org/10.1109/la-web.2009.45.
Звіти організацій з теми "Contemporary Latin American Art":
1
Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.
Анотація:
Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Conviviality-Inequality in Latin America, Maria Sibylla Merian Centre. Conviviality in Unequal Societies: Perspectives from Latin America Thematic Scope and Preliminary Research Programme. Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America, 2017. http://dx.doi.org/10.46877/mecila.2017.01.
Анотація:
The Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America (Mecila) will study past and present forms of social, political, religious and cultural conviviality, above all in Latin America and the Caribbean while also considering comparisons and interdependencies between this region and other parts of the world. Conviviality, for the purpose of Mecila, is an analytical concept to circumscribe ways of living together in concrete contexts. Therefore, conviviality admits gradations – from more horizontal forms to highly asymmetrical convivial models. By linking studies about interclass, interethnic, intercultural, interreligious and gender relations in Latin America and the Caribbean with international studies about conviviality, Mecila strives to establish an innovative exchange with benefits for both European and Latin American research. The focus on convivial contexts in Latin America and the Caribbean broadens the horizon of conviviality research, which is often limited to the contemporary European context. By establishing a link to research on conviviality, studies related to Latin America gain visibility, influence and impact given the political and analytical urgency that accompanies discussions about coexistence with differences in European and North American societies, which are currently confronted with increasing socioeconomic and power inequalities and intercultural and interreligious conflicts.
3
Lupu, Noam. Weak Parties and the Inequality Trap in Latin America. Inter-American Development Bank, April 2024. http://dx.doi.org/10.18235/0012891.
Анотація:
Latin America is widely acknowledged as one of the most unequal regions of the world (Sánchez-Ancochea 2021). But it is also one of the most democratic, certainly as compared to other developing regions. These two facts seem difficult to reconcile. Both folk theories of democratic representation to borrow a phrase from (Achen and Bartels 2016) and canonical models in political economy would have us believe that democracies ought to reduce inequality through redistribution (e.g., Acemoglu and Robinson 2006; Meltzer and Richard 1981; Romer 1975). As inequality increases, the proportion of the population that would benefit materially from redistribution also increases, making it more likely that a pro-redistribution political coalition would win elections and deliver social policy. And yet, despite several decades of uninterrupted electoral democracy in most of the region, Latin American governments have consistently and with but few exceptions failed to reduce inequality substantially. This paper begins by discussing why contemporary Latin American party systems are weak, focusing on both structural/institutional factors that pull party systems toward less institutionalization and recent changes to the regions political economy that undermined the more institutionalized systems. Then links the regions low levels of party-system institutionalization with lower levels of redistribution, both theoretically and empirically through cross-national comparisons. Finally, the mass and elite surveys show that legislatures in the region fail to reflect the pro-redistribution preferences of voters, further demonstrating how weak parties undermine the representation necessary for successful redistribution.
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Castedo, Leopoldo. Cultural Foundations of Latin American Integration. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0007936.
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Edwards, Sebastian. The Economics of Latin American Art: Creativity Patterns and Rates of Return. Cambridge, MA: National Bureau of Economic Research, February 2004. http://dx.doi.org/10.3386/w10302.
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Angel, Félix, and Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, August 2011. http://dx.doi.org/10.18235/0006441.
Анотація:
This catalogue belongs to the exhibit that celebrates the 150th Anniversary of Italy's Unification. The exhibition includes a selection of art works by Latin American artists of Italian descent that constitutes a symbolic yet significant exploration of the Italian cultural presence and its influence in Latin America. Among the artists included are: Héctor Borla, Sergio Camporeale, Ricardo Crivelli, Eduardo Medici, Emilio Pettoruti, and Rogelio Polesello (Argentina), Lyria Palombini (Brazil), Roberto Sebastián Matta (Chile), Umberto Giangrandi (Colombia), Francisco Amighetti (Costa Rica), Javier Bassi, Miguel A. Battegazzore, José Belloni, Enrique Broglia, Pedro Figari, Antonio Frasconi, Diego Masi and Carlos María Tonelli (Uruguay). The catalogue comprises an essay on the interaction of experiences between Italy and Latin America by Professor Cristina Rossi. The text can be found in English, Spanish and Italian.
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Figueredo, Luisa, William Shelton, and Joao Paulo Almeida. The State of Art of Awake Craniotomy in Latin American Countries: A Scoping Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, June 2023. http://dx.doi.org/10.37766/inplasy2023.6.0078.
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Draper, Gordon. The Civil Service in Latin-America and the Caribbean: Situation and Future Challenges: The Caribbean Perspective. Inter-American Development Bank, October 2001. http://dx.doi.org/10.18235/0011121.
Анотація:
This paper presents the preliminary results of the study of Civil Service systems and reforms in Barbados, the Bahamas, Guyana, Suriname, and Trinidad and Tobago. The study is based in part on responses to questionnaires that have been completed by the countries. The aim of the paper is: to explore conceptual issues relating to the Civil Service; to examine existing Civil Service systems with a focus on elements of human resource management and structure; to review contemporary civil service reform initiatives; and to explore the emerging issues and future challenges for civil service systems in the region. This paper was presented at the Regional Policy Dialogue Meeting on Public Policy Management and Transparency: Civil Service held in October of 2001.
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Guizzo Altube, Matías, Carlos Scartascini, and Mariano Tommasi. The Political Economy of Redistribution and (in)Efficiency in Latin America and the Caribbean. Inter-American Development Bank, October 2023. http://dx.doi.org/10.18235/0005239.
Анотація:
Predominant views on the political economy of Latin America and the Caribbean tend to emphasize that elite domination helps to understand the high levels of inequality. The contemporary fiscal version of that assertion goes something like “the rich are powerful and they dont like taxes, hence we have little taxation and little redistribution.” That is a good approximation to the reality of some countries, but not of others. There are cases in the region where there are high levels of taxation and non-negligible redistributive efforts. But in some of those cases such redistribution comes hand in hand with macroeconomic imbalances, high inflation, low growth, as well as low-quality public policies. When redistributive efforts are short-sighted and attempted with inefficient public policies, fiscal imbalances lead to inflation and to frequent macroeconomic crises that reduce growth and thwart poverty reduction efforts. The argument of this paper is that there are various possible political configurations (including elite domination and populism among others) that lead to different economic and social outcomes (including the degree of redistribution and others). We postulate that each configuration of social outcomes emerges out of different political economy equilibria. Different countries in the region will be in different political economy equilibria, and hence will have different combinations of political economy syndromes and of socioeconomic outcomes. In this paper, we characterize the countries regarding the size of the public sector, how much fiscal redistribution there is, and how efficient this public action is. We summarize various strands of literature that attempt to explain some elements of that fiscal vector one at a time; and then attempt to provide a simple framework that might explain why different countries present different configurations of size, distributiveness, and efficiency.
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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, March 1994. http://dx.doi.org/10.18235/0007910.