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La pintura una residencia en la tierra. Un arte americano, arte y política.
1960In this text, Sergio Benvenuto, director of Artes journal, describes and analyzes the visual arts in Uruguay and its connections to the rest of Latin America; he points out cultural differences from Anglo-Saxon America. Benvenuto asserts that [...]ICAA Record ID: 1253255 -
¿Arte versus política?
1963This article was published in El País, a newspaper run by sectors of the Partido Nacional, one of Uruguay’s two traditional political parties. It reports on the occupation of the Subte exhibition space in Montevideo by a group of visual artists [...]ICAA Record ID: 1231919 -
[Durante años, varias generaciones de uruguayos...]
1992In this leaflet Nelbia Romero expresses her goal of recognizing the identity and ethnicity of the indigenous race that once lived on the land that is now Uruguay. That race was, in fact, exterminated during the eighteenth and nineteenth centuries. [...]ICAA Record ID: 1238885 -
[El hombre es libre]
1931Vicente Basso Maglio sees “creative freedom” as a constant that lies outside historical time. In his view, it is intrinsically human—a pure concept not bound to questions of style in art, which are to his thinking, vulgar, ornamental, and [...]ICAA Record ID: 1229417 -
[Joaquín Torres García]
1959This text was written in 1950 by Guillermo de Torre, a year after the death of Joaquín Torres García. In it, he made a brief assessment of the artistic master relating to modern art from his beginnings as a muralist in Barcelona, while [...]ICAA Record ID: 1250545 -
[Letter] [1933, Junio?], Buenos Aires [to] Blanca Luz Brum
1933Other than the intimate details of the communication between Siqueiros and Brum, this letter provides extremely interesting insights into Siqueiros’s public relations in Buenos Aires, as well as his opinions and intentions concerning the local [...]ICAA Record ID: 1238660 -
[Letter] 1913 Noviembre 11, Carlos M. Herrera [to] Martín Lasala, Comisión Directiva del Círculo de Bellas Artes
1913As the director of the Círculo de Bellas Artes School in Montevideo, painter Carlos María Herrera wrote this letter to Martín Lasala, the president of that institution’s board, with a number of proposals, chief among them was the elimination of [...]ICAA Record ID: 1230195 -
[Letter] 1915 Diciembre 1, Terrasa, España [to] José Enrique Rodó
1915In this letter to the writer José Enrique Rodó, Joaquín Torres García discusses the affinity they share for the Greco-Latin tradition, and expresses his wish to be in touch with contemporary Uruguayan art because, though living in Spain at the [...]ICAA Record ID: 1247404 -
[Letter] 1916 Junio 1, Terrasa, España [to] José Enrique Rodó
1916This letter from Joaquín Torres García to his Uruguayan compatriot, the renowned writer José Enrique Rodó, suggests that both men agreed on the need to encourage the emerging art in their country by exposing young Uruguayan artists to what was [...]ICAA Record ID: 1247430 -
[Letter] 1916 Marzo 15 [to] José Enrique Rodó
1916In this letter, Joaquín Torres-García declares his intention to promote contemporary Uruguayan art to European audiences. The objective is to create a program designed to provide scholarships or grants from the Uruguayan government for [...]ICAA Record ID: 1247461 -
[Letter] 1926 enero 28, Calle Lucas Obes, Montevideo [to] Pedro Figari
1926In this letter Guillot Muñoz, the distinguished writer and journalist, tells his friend Pedro Figari about the critiques that his paintings were receiving in Montevideo at that time, and about the unconditional support for Figari there was among a [...]ICAA Record ID: 1238724 -
[Letter] 1934 Enero 11, Isla de Trinidad [to] Blanca Luz Brum
1934In this letter, David Alfaro Siqueiros tells Blanca Luz Brum that the Troubadour—the ship on which he sailed from Buenos Aires in December 1933—had arrived in Port of Spain, Trinidad and Tobago. Siqueiros talks about the book he wrote on the trip [...]ICAA Record ID: 1238692 -
[Letter] 1943 Julio 20, Buenos Aires [to] Presidenta de la Federación de Estudiantes Plásticos del Uruguay
1943This letter from the Asociación Estímulo de Bellas Artes (AEBA) in Argentina to the Federación de Estudiantes Plásticos del Uruguay (FEPU) invited the Uruguayan students to attend the opening of the exhibition Arte argentino del pasado y del [...]ICAA Record ID: 1210802 -
[Letter] 1965, Montevideo [to] Fernando García Esteban
1965In this letter to critic Fernando García Esteban, José Cúneo celebrates the recent publication of the critic’s Panorama de la plástica contemporánea uruguaya (Montevideo: Editorial Alfa, 1965). Cúneo then explains his ideas about color in the [...]ICAA Record ID: 1233790 -
[Letter] 1973 Febrero 3, Buenos Aires, Argentino [to] Leonilda González, Club de Grabado
1973This essay is on the letter from Antonio Berni (Buenos Aires) to Leonilda González (president of the Club de Grabado de Montevideo [Engravers Club of Montevideo], CGM) on occasion of the twenty-year anniversary of the CGM and on having requested [...]ICAA Record ID: 1226464 -
[Letter] 1973 Febrero, San Juan Puerto Rico [to] Leonilda González
1973In this letter to Uruguayan artist Leonilda González—secretary general of the Club de Grabado de Montevideo (CGM)—multifaceted Puerto Rican creator Antonio Martorell conveys his interest in organizing a group show of the CGM in San Juan. He [...]ICAA Record ID: 1193636 -
[Letter] 1977 Junio 27, Leonidas González, Manizales, Colombia [to] Oscar Ferrando
1977This document is a letter from Leonilda González, former secretary general of the Club de Grabado de Montevideo (CGM), to Óscar Ferrando, who took charge of the institution when González left the country in exile. The letter is a confidential [...]ICAA Record ID: 1226480 -
[Letter] 1977 Novembro 21, Rio de Janeiro [to] Oscar Ferrando, Secretario de Taller, Club de Grabado de Montevideo
1977After Oscar Ferrando, the secretary of the Club de Grabado de Montevideo (CGM), visited the Escola de Artes Visuais do Rio de Janeiro, Rubens Gerchman, the director of that school in Rio, expressed his interest in organizing a number of exchanges [...]ICAA Record ID: 1193516 -
[Letter] 1981, Julio 21, São Paulo, Brasil [to] Clemente Padín
1981This is the Brazilian art critic and curator Walter Zanini’s official invitation to Clemente Padín, asking him to take part in the XVI Bienal Internacional de São Paulo, in 1981. The document created a “diplomatic” incident that was solved [...]ICAA Record ID: 1242138 -
[Letter] Al Comité Central del Partido Comunista del Uruguay
1933While stating his unflinching loyalty to the communist cause, David Alfaro Siqueiros also provides some important autobiographical information in this letter to the Uruguayan Communist Party Central Committee. He talks about being under house arrest [...]ICAA Record ID: 1238917 -
[Letter] Enero 1930, París, Francia [to] José Cuneo y Bernabé Michelena
1930In 1930, Wladimir Raykis (director of Galerie Zak in Paris) sent this letter inviting Uruguayan artists José Cúneo and Bernabé Michelena to exhibit at his exhibition venue which promoted Latin American art between the wars. The dialogue and [...]ICAA Record ID: 1233623 -
[Letter] Jesualdo y María Carmen [to] David Alfaro Siqueiros, Montevideo, 27 Diciembre, 1962
1962This document is a letter sent by two Uruguayan intellectuals to David Alfaro Siqueiros, who had been held at Lecumberri jail in Mexico City since 1960; the letter was sent through the artist’s wife, Angélica Arenal. It was a message of solidarity [...]ICAA Record ID: 1238756 -
[Manifiesto Grupo Brasileño Maldoror]
1967The magazine Los Huevos del Plata founded in Montevideo by Clemente Padín, published the manifesto of the Brazilian group Maldoror that politically identified itself with revolutionary and antimilitaristic principles that were plainly active during [...]ICAA Record ID: 1243177 -
[Octaedro Informa. Textos y dibujos de Juan Carlos Iglesias]
1980This is an example of the Mail Art correspondence delivered by Octaedro, a group that emerged in late 1978 in Montevideo. In this case, Juan Carlos Iglesias, one of the members of the Uruguayan group, is the author. It consists [...]ICAA Record ID: 1260374 -
[Somos mutantes, es decir, vividos...]
1966In 1965, the original manifesto of the magazine Los Huevos del Plata was an avant-garde platform advocating against Uruguayan cultural dominance by the so-called Generación del ’45, a group of writers who exerted and promoted their strong [...]ICAA Record ID: 1243157 -
[Tengo el honor de dirigirme a Ud. en relación a la nota no. Br. 568/22/1...]
1961This document is a confidential report, perhaps to be sent to the KGB, on the three Uruguayan artists selected to participate in the 1961 São Paulo Biennial. The text addresses other aspects of the art scene in Uruguay as well, among them the group [...]ICAA Record ID: 1238805 -
13 años de actividad de Club de Grabado de Montevideo
1966This printed, folded sheet of paper provides a chronological history of the CGM (Club de Grabado de Montevideo) that spans its first thirteen years of operation, from 1953 to 1966. It includes a report on the Club’s sources of inspiration in the [...]ICAA Record ID: 1183571 -
1er Salón Independiente de Artes Plásticas
1937There are basically three sections in the catalogue for the Primer Salón Independiente de Artes Plásticas: (1) Statement of principles; (2) List of participating artists; and (3) The text of the tribute to the painter Milo Beretta, mentor to young [...]ICAA Record ID: 1186701 -
1er Salón Independiente, la UAPU y la CNBA
1967This article published in El Mate journal in 1967 supports the stance embraced by a group of artists in Uruguay who, thirty years earlier, had decided not to submit work to the Primer Salón Nacional de Artes Plásticas during the dictatorship of [...]ICAA Record ID: 1198061 -
1er Salón Municipal de Artes Plásticas : Su contenido artístico
1940This special edition of the magazine AIAPE (Agrupación de Intelectuales, Artistas, Periodistas y Escritores) was devoted entirely to the first Salón Municipal de Artes Plásticas (Montevideo, 1940). The sole article in the magazine was written by [...]ICAA Record ID: 1184568 -
2ª exposición al aire libre en homenaje a Stalingrado : Domingo 8 de Noviembre, 1942
1942This document contains information on an exhibition of the Federación de Estudiantes Plásticos del Uruguay (FEPU) held in 1942. A pro-Soviet text is transcribed and a list of participants in the show appears, among them eminent local artists. The [...]ICAA Record ID: 1210566 -
4 Ambientación grupo Los Otros
1982Los Otros was a group active in Uruguay from 1979 to 1982, at the end of the military dictatorship (1973–84). It formulated innovative and ephemeral projects for alternative spaces. This text, written by the group, levels harsh and ironic criticism [...]ICAA Record ID: 1251116 -
500ª Conferencia
1940In his 500ª Conferencia (the five hundredth lecture given in the six years since he returned to Montevideo in 1934), Joaquín Torres García (JTG) presents what he calls “a new theory.” This is his final attempt to adapt his universalist model [...]ICAA Record ID: 1250460 -
A propósito de Vasarely
1958This essay is on the work of Victor Varsarely that in 1958 was exhibited for the first time in Montevideo, giving rise to glowing journalistic commentaries. A commentary was also written on the TTG (Taller Torres García [Torres Garcia Workshop]) [...]ICAA Record ID: 1228355 -
A quienes lucharon por mi libertad con mi más profundo reconocimiento
1964After spending four years in prison in Mexico for an obscure “crime of social dissolution,” Siqueiros was released in July 1964. He then wrote this letter to all the friends in various parts of the world who had demanded his freedom. In [...]ICAA Record ID: 1238740 -
Acción para meditar
1969This article analyzes the varied impact generated by the happenings in Europe and the United States and the repercussions on those taking place in Latin America, highlighting the ethical and political particularities of the latter. In this case, it [...]ICAA Record ID: 1250336 -
Acerca de la crítica de arte
1955This essay, is on the art critic Fernando García Esteban and on his noted intellectual presence in Montevideo during the fifties and the sixties. The art critic echoes the difficulties encountered when critiquing local art and the differences in [...]ICAA Record ID: 1227280 -
Acerca de la letra h : una conversación entre Yamandú Canosa y Rosa Queralt
2007This is an interview by the art critic Rosa Queralt with Yamandú Canosa in regard to his 2003 exhibition held in Spain, named La línea h (iceberg), at the Art Center of Salamanca. It was published in the catalogue Premio Pedro Figari (2007–08 [...]ICAA Record ID: 1247647 -
AIAPE la víbora y Nadie
1947This article by Sarandy Cabrera, which appeared in Removedor, the journal published by the TTG (Taller Torres-García), is an example of the magazine’s colloquial—and aggressive, “from the trenches”—discourse. This [...]ICAA Record ID: 1263683 -
Al encuentro de América Latina
1972This interview with Uruguayan artist Jorge Damiani addresses the Primer Encuentro de Artistas Plásticos del Cono Sur held in Santiago, Chile. As the Uruguayan delegate, Damiani took part in debates on art in Latin America, specifically in relation [...]ICAA Record ID: 1246126 -
Al encuentro de las culturas subyacentes
1992In this text, Alicia Haber analyzes how a large and complex installation by Nelbia Romero shows the toponymic-linguistic legacy of Guarani culture in a country as European as Uruguay. From the mid-eighties to the mid-nineties, there was a social [...]ICAA Record ID: 1238901 -
Al País
1937This is the public statement made by Uruguayan artists who rejected the invitation to submit their works to the Primer Salón Nacional de Bellas Artes and called for an exhibition that had nothing to do with the government. Their main argument was [...]ICAA Record ID: 1225471 -
Alianza de intelectuales, artistas y escritores bolivianos
1938This article announces the founding of the Bolivian AIAPE (Agrupación de Intelectuales, Artistas, Periodistas y Escritores) a few years after the founding of homonymous associations in Argentina and Uruguay. The Bolivian group basically embraced the [...]ICAA Record ID: 1225763 -
Apollonio ¿Libertad para qué?
1964Pablo Mañé Garzón discusses some of the thoughts expressed by Umbro Apollonio, the director of the Biennale di Venezia’s Historic Archive of Contemporary Art. The Uruguayan critic refers specifically to the concept of “freedom” that [...]ICAA Record ID: 1248811 -
Apremios e interrogantes
1972This essay is on an interview [conducted] by Gabriel Peluffo with the sculptor Germán Cabrera, the artist and performer Teresa Vila, and the painter and engraver Anhelo Hernández. He questions them on the role of the visual arts within the social [...]ICAA Record ID: 1245079 -
Aquí, en Montevideo
1938In this brief essay Joaquín Torres-García outlines the goals he developed at the AAC (Asociación de Arte Constructivo) and explained in the association’s magazine. He describes the difficulties he had in trying to make [...]ICAA Record ID: 1263116 -
Arte Argentino del pasado y del presente
1943In 1943, an exhibition of one hundred and seven Argentinean artists, consisting of late 19th- century and early 20th-century painters and sculptors, was held in Montevideo under the auspices of the National Commission of Fine Arts of Montevideo and [...]ICAA Record ID: 1228201 -
Arte correo en el Uruguay
1985From a Uruguayan perspective, visual artist and performer Clemente Padín discusses the importance of Mail Art in Latin America, as well as the problems it faces. In this article, he explains the origins of Mail Art as a movement for international [...]ICAA Record ID: 1247293 -
Arte de Acción en Latinoamérica : cuerpo político y estrategias de resistencia
2010In this essay, critic and performer Silvio de Gracia explains the importance of and provides context for “action art” in Latin America. He demonstrates its specificity in the region, showing how it differs from similar tendencies in Europe and [...]ICAA Record ID: 1240673 -
Arte en las calles
1990In this essay, the artist and performer Clemente Padín explains the concept of “street art and urban art” following the alternative art exhibition, Tomarte, held in the city of Rosario, Argentina, in April 1990, with the pretense of injecting [...]ICAA Record ID: 1243093