Documents of Latin American and Latino Art

In this text Diamela Eltit writes about Guillermo Núñez’s artwork on the occasion of a retrospective exhibition of his works. She discusses the political violence to which he was subjected during the military dictatorship (1973& [...]

In this text Diamela Eltit and Lotty Rosenfeld explain the role of video in their work. They started working with video in 1979, using it to record ephemeral actions, and describe it as a “memory.” They discuss ways in which this tool [...]

Diamela Eltit and María Eugenia Brito coauthored this essay about Lotty Rosenfeld’s project Una milla de cruces sobre el pavimento [A Mile of Crosses on the Pavement]. The text includes a prologue and eight chapters, each identified with [...]

In her essay “Cada 20 años” (Every 20 Years), Diamela Eltit reviews the art activities organized by C.A.D.A. (Colectivo de Acciones de Arte; Art Action Collective) during the two decades since the group was started in 1979. She [...]

Diamela Eltit discusses Nelly Richard’s assessment of the Escena de Avanzada, explaining that, having been mentioned in Richard’s book, she finds herself in the paradoxical position of being a subject of the work in question as well as [...]

In “Gestos Críticos” (Critical Gestures) Diamela Eltit, a member of the group Colectivo Acciones de Arte (C.A.D.A), discusses the art actions that were performed during the military dictatorship in Chile (1973–90). According [...]

Diamela Eltit escribe sobre la obra de Juan Downey, a propósito de su exposición en Chile Festival Downey. El texto se articula en dos puntos: “La patria: todas las patrias” y “Todas las patrias: la patria” cuya [...]

Diamela Eltit writes about Lotty Rosenfeld’s intervention, which consisted of altering the intermittent lines painted on streets to create traffic lanes. The text is arranged in a non-traditional layout that testifies to its poetic, reflective [...]

In her catalogue essay for Rota, the exhibition of works by Juan Domingo Dávila, Diamela Eltit presents an overview of Dávila’s painting, claiming that it always involved a convergence of multiple signs, references from different [...]

In this text the writer Diamela Eltit discusses her artistic activities. She refers to the series of art actions called Zona de dolor (Painful Zone), which acknowledge the physical exclusion and marginalization with which she identifies her otherness [...]

Diamela Eltit and Lotty Rosenfeld wrote this essay after the Círculo de Estudios de la Mujer invited them to take part in a conference commemorating International Women’s Day. Eltit and Rosenfeld had intended to show a pornographic film [...]