Documents of Latin American and Latino Art

Justo Pastor Mellado discusses the Escena de Avanzada twenty years after Nelly Richard coined the term. Though it originally had militant undertones, the term evolved into a historical category. It applied to a set of texts and artworks that Richard [...]

The sociologist Fernando Balcells wrote this essay for the catalogue for Te devuelvo tu imagen, ocupación, the exhibition of works by Juan Castillo (who, like Balcells, was a member of the group Colectivo Acciones de Arte [CADA, Art Action [...]

In this short text, members of C.A.D.A. (Colectivo Acciones de Arte) describe the group’s project, Residuos Americanos [American Residues]. They explain that the installation suggests a connection between “American clothes” ( [...]

This text written by members of the C.A.D.A (Colectivo Acciones de Arte) explains how the group approached video in two different ways, using it to document their actions and to create new works. The text underscores how video—which can be [...]

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 [...]

Twenty years after the production of Para no morir de hambre en el arte —the first art action performed by CADA (Colectivo Acciones de Arte, Art Actions Collective)—one of the members of the group, Fernando Balcells, discusses its works, [...]

In her essay “Trama urbana y fugas utópicas” (Urban Fabric and Utopian Flights), Nelly Richard discusses CADA (Colectivo Acciones de Arte) two decades after the group launched its program of urban actions in Santiago. She describes the [...]

“The broadening of the critical space” represents one section of the book, Chile Arte Actual [Chile Art Today], written by the art historians, Gaspar Galaz and Milan Ivelic. In the book, the authors ask themselves why the late 1970s and [...]

This book consists of research on and documentation of all the works carried out by C.A.D.A. (Colectivo Acciones de Arte) [Art Action Collective] during its existence, 1979 – 1985. The book includes interviews of Lotty Rosenfeld, Juan Castillo, [...]

This document presents the principles of the Colectivo de Acciones de Arte [Art Action Collective] (better known as C.A.D.A.) regarding the relationship between art and politics, their stance on the international art scene and on the tradition of [...]

In this text, the CADA art action group appeals to artists all over the world, urging them to take part in a “collective art project.” This appeal grew out of a determined response to the violence and destruction caused by the imperialist [...]

This page done by the group C.A.D.A. (Colectivo Acciones de Arte) [Art Action Collective] was political commentary in the form of a magazine insert. Such an insertion was included among the activities specified in the art action, Para no morir de [...]

In 1985 C.A.D.A. (Colectivo Acciones de Arte) and the Movimiento Unitario Mujeres por la Vida joined forces to publish an insert in Análisis magazine. The insert featured a photograph of a woman whose husband had been murdered by agents [...]

This article by C.A.D.A. (Colectivo Acciones de Arte) describes the group’s participation in the IN/OUT exhibition in Washington, DC. Due to the international nature of the exhibition, the text points out differences, provides some context for [...]

This poetic text refers to the art actions that Juan Castillo produced in 1981. The Chilean artist’s project, titled Te devuelvo tu imagen (I Return Your Image), was photographed by Lotty Rosenfeld. The text describes Rosenfeld’s filming [...]

This unsigned article reviews the works of the Colectivo Acciones de Arte (CADA), the art action group that took the name used as the title of the article in question: Para no morir de hambre en el arte (To Avoid Dying of Hunger [or Starving to [...]

In a series of eight notes, Nelly Richard discusses Chilean artworks and the artists who produced them during the late 1970s. Her use of “notes” indicates that she does not intend to present a uniform view of cultural projects or an all- [...]

This document was part of the action with the same name—¡Ay sudamerica! 400.000 Textos sobre Santiago—[Ay, South America! 400,000 Texts over Santiago] carried out by C.A.D.A. (Colectivo de Acciones de Arte) [Art Action Collective] in 1981 in [...]