The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This text, written by Julio Le Parc, states that cultural penetration is used in Latin America as a weapon of domination by the United States imperialism, which also seeks to control the means to value artwork at the international level. He also points out that he does not favor any isolationism that would limit itself to the national scene, looking to the past for a hypothetical identity. On the contrary, he favors a plurality of trends thriving in open and continuous confrontation. Among his final proposals, Le Parc calls for the creation of a Latin American front composed of intellectuals and artists.
Julio Le Parc (1928) was born in the Province of Mendoza, in Argentina, and graduated in Buenos Aires. In 1955, he participated in the student movement that took over the country’s fine arts schools, and in 1958, he traveled to Paris on a scholarship. While there, between 1960 and 1968, he became part of the GRAV, Groupe de Recherche d’Art Visuel [Experimental Visual Arts Research Group], which, in turn, participated in the Nouvelle Tendence [New Tendency] international movement. He later continued his visual research and production within the kinetic art movement. On many occasions, his positions on various issues from the point of view of a Latin American artist were accounted for.
This is a text written by Le Parc for the Encuentro de Intelectuales por la Soberanía de los pueblos de nuestra América [Encounter of Intellectuals for the Sovereignty of the Peoples of Our America], which was organized by the Casa de las Américas in Havana (September 1981). This document has been selected as evidence of the analysis and point of view of the artist regarding the cultural penetration and evaluation of Latin American art.