Documents of Latin American and Latino Art

In this essay, Rita Ferrer discusses photography based on an international critique of several periods. She refers to authors such as Roland Barthes, Charles Baudelaire, and the Chilean artist Carlos Leppe, claiming that they all share a “ [...]

The essay written by Patricio M. Zárate covered the new emerging generation of Chilean artists. According to the author “customary artistic boundaries had been disregarded” with the incorporation of artistic works pertaining to [...]

This essay by Alberto Madrid is on the exhibition Fotografía: intervenciones, cruces y desvíos. His play of words “field of reference out of field” emerged in the essay questioning the bibliographic references with which [...]

Ronald Kay published this collection of works by Nicanor Parra in News from Nowhere, in the only issue of Manuscritos magazine (Santiago: Departamento de Estudios Humanísticos, Universidad de Chile, 1975). Kay underscores the value of these [...]

This was an interdisciplinary poetry project produced by Nicanor Parra in 1952. Parra worked with Enrique Lihn and Alejandro Jodorowsky to create Quebrantahuesos, a sheet of paper measuring 55 x 40 centimeters which they covered with newspaper [...]

This text is part of El gran solipsismo, Juan Luis Martínez. Obra visual (Santiago: Editorial Puntángeles, 2002), the collection of essays written by the researcher José de Nordenflycht. The author considers the work in question [...]

The essay “Parpadeo y piedad,” which appeared in the catalogue for the exhibition Cirugía plástica (Plastic Surgery), held in Berlin, discusses art in Chile, specifically, the art produced in the wake of the 1973 fascist [...]

In this short text, Eugenio Dittborn offers a brief, poetic description of the formal processes that provide him with the images he uses in his works. He highlights the typology of the selected images (photographs of public contemporary life) and [...]

Miscellaneous articles and references to art in Chile during the Pinochet dictatorship (1973–89). The publication provides quotes from multiple sources, including members of the Chilean art world at the time and their theoretical-literary [...]

The text by Ronald Kay is presented as a written-visual statement in the quote from the edition of “El quebrantahuesos” that explored a form of experimental poetry, developed in 1952, which Kay here reclaims and editorializes. This essay outlines [...]