By Luis Camnitzer
Conceptualism performed a distinct position in Latin American paintings in the course of the Nineteen Sixties and Seventies than in Europe and the U.S., the place conceptualist artists predominantly sought to problem the primacy of the artwork item and paintings associations, in addition to the commercialization of artwork. Latin American artists grew to become to conceptualism as a automobile for noticeably wondering the very nature of paintings itself, in addition to art's function in responding to societal wishes and crises together with politics, poetry, and pedagogy. due to this special time table, Latin American conceptualism needs to be considered and understood in its personal correct, no longer as a by-product of Euroamerican models.
In this ebook, one among Latin America's best conceptualist artists, Luis Camnitzer, bargains a firsthand account of conceptualism in Latin American artwork. putting the evolution of conceptualism in the heritage Latin the USA, he explores conceptualism as a method, instead of a mode, in Latin American tradition. He indicates how the roots of conceptualism succeed in again to the early 19th century within the paintings of Símon Rodríguez, Símon Bolívar's instruct. Camnitzer then follows conceptualism to the purpose the place paintings crossed into politics, as with the Argentinian crew Tucumán arde in 1968, and the place politics crossed into paintings, as with the Tupamaro move in Uruguay throughout the Nineteen Sixties and early Seventies. Camnitzer concludes through investigating how, after 1970, conceptualist manifestations back to the fold of extra traditional paintings and describes the various results that whilst artwork developed from being a political software to turn into what's often called "political art."
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Additional info for Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)
However, it wasn’t the presence of text that determined differences between the mainstream and Latin America, but rather the manner in which it was used in each case. ” 13 It soon followed that textual analysis merged with the work repeated itself, and, subsequently, the analysis was allowed to become the work. In Latin America, where close ties with French culture and language had existed since the late nineteenth century when positivism was in vogue, all this became clear earlier. By the time structuralism reached prominence in the United States, it had already existed for many years in the broader Latin American intellectual public domain.
In conceptualist work, the task is usually about revealing the intermediate step, hence so-called process art, which is one form of avoiding erosion. The real search was for something we can call (if we like jargon-ﬁtting neologisms) “demediatization,” a way of conveying everything to the viewer. In terms of communication, conceptualism wanted to ﬁnd ways to send messages through no-loss information systems. Theory of information, as presented by Claude Shannon and Warren Weaver, among others, was as important and inﬂuential to the artists both on the periphery and in the mainstream of the sixties as was semiotics and structuralism.
In the rest of Latin America, he is practically unknown. Rodríguez initially seduced me just with his ideas, but, as I found out later, he had also developed a very particular visual structure for his writings, which anticipated the formal developments worked out by Mallarmé by about seven decades. Given his relative obscurity, his work certainly cannot be taken as a causal link in the cultural process leading to conceptualism. 2. Simón Rodríguez, “En la monarquía” (In Monarchy), Obras completas, 1:231.