The First Art Newspaper on the Net   Established in 1996 United States Saturday, April 21, 2018

Losing the human form: A seismic image of the 1930s in Latin America at Museo Reina Sofia
Ticio Escobar, Arete Guazu, Chaco Paraguayo, 1986-1993. Color photograph. 10 x 15 cm. Departamento de Documentaion e Investigacion del Centro de Artes Visuales/Museo del Barro.

MADRID.- The exhibition Losing the human form. A seismic image of the 1980s in Latin America has been organised by Museo Reina Sofía in collaboration with AECID, and curated by Red Conceptualismos del Sur. This show presents a vision of the tensions between art, politics and activism that took place during the 1980s in several Latin American territories. Through more than six hundred works —photographs, videos and sound recordings to graphic and documentary material, as well as installations and drawings—, Losing the human form makes out an image that, though not aiming to be panoramic or representative, does invite to rethink a series of micro-narratives and localised case studies, capable of allowing the viewer to approach a thoroughly unknown period.

The show evokes an image of the 1980s in Latin America that establishes a counterpoint between the effects of violence on bodies and the radical experiments in freedom and transformation which impugned the repressive order. Stricken bodies / mutant bodies. Between horror and festivity, the materials gathered show not only the consequences of mass disappearances and massacres under dictatorial régimes, states of siege and internal wars, but also various collective urges to devise modes of existing in a permanent state of revolution.

The exhibition points out the multiple and simultaneous appearance of new ways of making art and politics in different parts of Latin America in the 1980s. It presents the results of an ongoing research project, conducted under the auspices of Red Conceptualismos del Sur, whose first phase has concentrated on certain episodes in the Southern Cone, Brazil and Peru, with the inclusion of some individual case studies in Mexico, Colombia and Cuba. The historical period under consideration begins in 1973, the year of Pinochet’s coup d’état in Chile, and continues up to 1994, when the Zapatista movement inaugurates a new cycle of protests that relaunches activism at an international level. The period corresponds to the consolidation of neoliberalism as a new hegemony, the demise of the real socialisms and the crisis of the traditional left.

The exhibition renders this panorama complex by retrieving experiments which suggested forms of resistance through fragile supports like serigraphy, performance, video, poetic action, experimental theatre and participative architecture. These practices can be grouped into three main areas. The first is visual politics, driven by social movements like the Mothers of the Plaza de Mayo in Argentina and Mujeres por la Vida (‘Women for Life’) in Chile. The second is acts of sexual disobedience, which include experiences of transvestism and corporalities that defy the traditional construction of genre. The last is the underground scene, which used music, partying and the “do-it-yourself” ethic to construct microcommunities and so make it possible to re-establish the social ties broken by terror.

All these experiments led to a loss of the human form, tensing and warping the humanist concept of the subject, and gave rise to new subjectivities that meant a crisis for familiar modes of existence and a transformation in ways of understanding and engaging in politics.

Through the exhibition, the spectator will discover the heterogeneity of cases included in the project. Episodes and experiences that go from the images registered by critical photojournalism during the Chilean and Argentinean dictatorships to the survival of the Arete Guasu ritual in an aboriginal community in Paraguay. From the actions of sexual subversion and performances in underground spaces in countries such as Argentina, Brazil, Chile, Peru or Mexico to the creative strategies used by the human rights movements in the Southern Cone when it was time to make visible all people who ended up missing due to State terrorism. Also, the body is one of the key issues of the exhibition.

A powerful feature of the show is collectivity, not only in its very conception (and the involvement of more than 25 researchers) but also in its representation (most authors worked with or belonged to groups or collectives). One can find political organizations, such as Madres de Plaza de Mayo and Mujeres por la vida to collectives of artists as 3Nós3, Las Yeguas del Apocalipsis, Taller NN, C.A.Pa.Ta.Co (Colectivo de Arte Participativo – Tarifa Común), Polvo de Gallina Negra, Gang, CADA, Periférico de Objetos or artists such as León Ferrari, Néstor Perlonger, Ney Matogrosso, Juan Dávila, Gianni Mestichelli, Paulo Bruscky, Clemente Padín, Sergio Zevallos, Miguel Ángel Rojas, etc.

Today's News

October 30, 2012

Largest show to date dedicated to the work made by Claes Oldenburg in the sixties opens

Scientists from the University of Calgary find first feathered dinosaur fossils in North America

Painting by Joaquín Sorolla, formerly in Berlin's Nationalgalerie, to be auctioned for the first time

The Museo del Prado presents the first monographic exhibition on landscape painter Martín Rico

New loan to the Columbia Museum of Art arrives in an unexpected and peculiar way

Major gift to Tate Gallery marks leading British painter William Scott centenary of his birth

Artist James Turrell installs Skyspace at Arizona State University's Herberger Institute for Design and the Arts

Meijer Gardens curates exhibition featuring international sculptor Bernar Venet

The Art Institute of Chicago presents a specially developed platform for the iPad

LACMA's 2012 Art+Film Gala raises $3.5 million to support film-based programming at the Museum

18th-century French and Spanish records shed new light on United States history

New European Curator & new Conservator at the Cincinnati Art Museum

Pinta New York 2012 announces new expansions in its sixth edition to be held November 15th to 18th

Les Cohen Amphora pottery collection featured at Morphy's, Nov. 2-3

Early American numismatic rarities and high-grade gold draw spirited bidding

Losing the human form: A seismic image of the 1930s in Latin America at Museo Reina Sofia

Extremely rare 110-year-old American motorcycle to be auctioned at Bonhams Las Vegas sale

Bank of America Merrill Lynch calls for 2013 Art Conservation Project submissions

Miami Art Museum commissions works from four international artists for new museum

Space shuttle Endeavour goes on public display

Most Popular Last Seven Days

1.- John Surtees' one-owner 1957 BMW 507 to be offered for the first time at Bonhams Festival of Speed sale

2.- Antiques looted in Libya by IS sold in Spain, two experts arrested

3.- The world's oldest bridge to be preserved by the British Museum's Iraq Scheme

4.- Exquisite jewels dazzle in historic Cartier exhibition at the National Gallery of Australia

5.- Now showing in US cinemas: "Hitler VS Picasso and The Others" directed by Claudio Poli

6.- New York's Metropolitan Museum of Art returns stolen idols to Nepal

7.- Glasgow starts a year of celebration as Charles Rennie Mackintosh exhibition opens

8.- Very rare Qing Dynasty bowl sells for $30.4 million

9.- Gardner Museum publishes "Stolen" book about 13 works in 1990 theft

10.- Royal Ontario Museum announces appointment of Curator, Islamic Art & Culture

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful