Documents of Latin American and Latino Art

This is the first of three articles about kitsch written by Hugo Salazar. After analyzing the etymology of the German word Kitsch [verkitschen: to be conned or duped] and its relationship to expressions in other languages, he deduces its semantic [...]

The first version of the text “Umberto Giangrandi: espacios y espejos de la carrera 12”, by the art theoretician Armando Silva Téllez, was published in the catalogue Sobre el paisaje urbano: La doce. Monotipos y litografías (1979) from the [...]

Raquel Tibol, an Argentinean critic and art historian who has lived in Mexico City since in 1953, and artist Leonel Góngora discuss work by Góngora considered erotic because it provides a sensual interpretation of reality. Tibol invites the [...]

La poetisa, galerista y crítica de arte Gloria Inés Daza conversa con Leonel Góngora sobre las motivaciones artísticas que desencadenaron su “obra erótica”; la muerte que azota a una sociedad “convencional y pacata” como la colombiana; y [...]

The text “El color de la vida, el color de la muerte” by critic and writer Darío Ruiz Gómez was published in the flyer put out by the Museo de Arte Moderno of Bogotá on the occasion of the exhibition of the same name featuring work by painter [...]

In his presentation of the exhibition 63/66: Figura e Objeto, Casimiro Xavier de Mendonça asserts that the sixties witnessed an explosion of utopias and changes with the advent of a new generation of creators. Regarding the exhibition, he attempts [...]

This article by art critic Agnaldo Farias discusses the first solo exhibition of painter Caetano de Almeida at the Thomas Cohn gallery in Rio de Janeiro in 1989. After acknowledging that de Almeida addresses many of the same themes as Nelson Leirner [...]

In this article, the art critic Adalice Araújo reviews the work of Luiz Henrique Schwanke and provides an outline of his career. His work attracted attention in the 1970s because of its links to Conceptual art and its subsequent alignment with the [...]

Mário Ramiro weaves a commentary around the exhibition of collages created by Hudinilson Jr., a member of the group 3NÓS3 [Three Knots/We Three] to which they both belong. Ramiro emphasizes the serial nature of the show and one of Hudinilson’s [...]

Testimony by artist Hudinilson Jr. on his work processes. Told in the form of a poem (in verse), the artist reveals the intimate relationship that his body establishes with a Xerox copier, emphasizing that the copies made function like a type of [...]

In his discussion of an exhibition of work by artist Hudinilson Jr., film critic Jean-Claude Bernardet points out the use of the image of a fragmented male body in an austere sequence structured around rectangles in shades of gray. He observes that [...]

In this text, Sergio Bessa examines Márcia X’s art, arguing that it confronts head on middle-class paradoxes and repression. Bessa asserts that the work by this woman artist is particularly remarkable in a culture where female expression is so [...]

This critique is about the publication of a pamphlet printed at the UCV (Universidad Central de Venezuela), whose content dealt with “aberrant deviations of eroticism.” The anonymous article states that the pamphlet caused outrage toward the [...]

The Puerto Rican artist, Antonio Martorell, wonders if there is eroticism in Puerto Rican art. The question arises after Hollister Sturges, director of the Museum of Fine Arts, Springfield, [Massachusetts,] asks Martorell if erotic art exists on the [...]

According to the Argentine critic Marta Traba, eroticism “is one of the most effective ways for modern art to reconnect with mankind and with reality.” She compares the major differences between eroticism and pornography and claims, for example, [...]

León Ferrari writes poetically about art and religion in terms of his own artistic goals: the appropriation of the works of the old Masters, a repression of sexuality, and eroticism that is ignored by the Catholic Church [...]

Roberto Jacoby — the conceptual artist, editor, and critic — analyzes León Ferrari’s work in terms of its political content and visual features, highlighting a number of aspects such as the relationship between the heretical and the erotic. He [...]