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  • Rio : vertente construtiva
    Morais, Frederico, 1936-
    In his introductory essay, Frederico Morais identifies the basic criteria underpinning the three retrospective exhibitions that were presented as part of the Ciclo de exposições sobre arte no Rio de Janeiro (1984). He briefly discusses [...]
    ICAA Record ID: 1317025

  • Depoimentos : Ubi Bava
    Interlenghi, Luiza
    Luiza Interlenghi, in her role as curator, interviews the artist Ubi Bava, asking him about his involvement in what came to be known as the Salão Preto e Branco (Black-and-White Salon) in Rio de Janeiro in 1954. He explains that, with so few [...]
    ICAA Record ID: 1307851

  • Depoimentos : Iberê Camargo
    Yoschpe, Evelyn
    In this statement, Iberê Camargo recalls how the third Salão Nacional de Arte Moderna, also known as the Salão Preto e Branco (Black-and-White Salon), was planned as a protest against the Brazilian Finance Minister Osvaldo Aranha& [...]
    ICAA Record ID: 1307754

  • Depoimentos : Ferreira Gullar
    Ferreira, Glória, 1947-; Interlenghi, Luiza
    In his testimony the critic Ferreira Gullar describes his involvement in the third Salão Nacional de Arte Moderna, also called the Salón Blanco y Negro (Black-and-White Salon), in 1954. At that point in time he was not a professional [...]
    ICAA Record ID: 1307732

  • A greve das cores
    Ferreira, Glória
    In this introductory essay, “La huelga del color” (The Color Strike), Glória Ferreira includes an article that had appeared in the newspaper Correio da Manhã on May 16, 1954. The article described the third Salão [...]
    ICAA Record ID: 1307631

  • O Salão Preto e Branco
    Herkenhoff, Paulo, 1949-
    In his introductory essay, Paulo Herkenhoff describes the 1954 Salão Nacional de Arte Moderna —also known as the Black-and-White Salon—as a political statement that was expressed in an official exhibition space. In protest against [...]
    ICAA Record ID: 1307599

  • Bill Caro : pinturas
    Caro, Bill, 1949-
    In this brief review, Bill Caro discusses his own career, ranging from his 1972 exhibition (focused on Lima shantytowns) to his interest in light that became one of the key facets of his work in the 1980s. Caro states that “photographing is as [...]
    ICAA Record ID: 1293457

  • Hacia una crítica marxista del marxismo. Entre Marx y la Estética
    Lauer, Mirko, 1947-; Buntinx, Gustavo, 1957-; Fetscher, Iring, 1922-
    [This article is] a debate between the German Marxist intellectual Iring Fetscher and the writer Mirko Lauer for the Peruvian magazine U-tópicos Entornoalovisual, moderated by Gustavo Buntinx, the editor of the magazine. This issue of the magazine [...]
    ICAA Record ID: 1292607

  • Desbordar los límites
    Buntinx, Gustavo, 1957-
    This editorial was published in number 4/5 (1984) of U-tópicos. Entornoalovisual, the Peruvian magazine. In the text, Gustavo Buntinx states that, while the Marxist proposal has yet to be carried out, Marxism itself tends to be distorted and reduced [...]
    ICAA Record ID: 1292558

  • Por una cultura real
    Salazar del Alcazar, Hugo; Buntinx, Gustavo
    This editorial appeared in number 2/3 (1983) of the magazine U-tópicos: Entornoalovisual (Lima). The text refers to the ongoing failures of the Peruvian government’s cultural organizations over the course of two decades, including the “ [...]
    ICAA Record ID: 1292528

  • [Águila, tigre, Che Guevara, Rosa de los Vientos...]
    Buntinx, Gustavo, 1957-
    On the back cover of number 4/5 of the magazine U-tópicos: Entornoalovisual (Lima, 1984), a brief anonymous article discusses the iconographic scenes painted on truck mudguards. The writer points out that, despite being ignored “by [...]
    ICAA Record ID: 1292492

  • Veleidad y demografía en el no-objetualismo peruano
    Salazar del Alcazar, Hugo
    To provide context for non-object art in Peru, researcher Hugo Salazar del Alcázar briefly cites theorist Juan Acha. Salazar del Alcázar is critical, however, in his description of a scene that in no way partakes of the avant-garde enthusiasm Acha [...]
    ICAA Record ID: 1292448

  • Las premisas de un método antipoético
    Calzadilla, Juan, 1931
    In this review for the journal Imagen (Number 34, Caracas, October 1-15, 1968) the Venezuelan poet, painter and art critic Juan Calzadilla discusses the work of Chilean mail artist Dámaso Ogaz. Calzadilla reviews Ogaz’s volume of poetry Imaginary [...]
    ICAA Record ID: 1279547

  • [Octaedro Informa. Textos y dibujos de Juan Carlos Iglesias]
    This 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

  • Creatividad y desafío
    Fernando Álvarez Cozzi, a member of the Octaedro group, created this text as a piece of mail art. In the text, the Uruguayan artist reflects on artistic freedom and the challenges involved in exercising it at difficult time in Uruguayan history [...]
    ICAA Record ID: 1260353

  • Octaedro expone
    This essay is on the second exhibition presented by the Octaedro group in Montevideo in the Cultural Alliance of Uruguay and the United States. The exhibition and its catalogue were considered defiant of the political circumstances the people of [...]
    ICAA Record ID: 1260107

  • Cincuenta años del Museo de Bellas Artes de Caracas : aproximación a las colecciones del Museo de Bellas Artes de Caracas
    Peruga, Iris
    The curator Iris Peruga discusses the structure and content of the collection of works at the Museo de Bellas Artes de Caracas. She names artists and works, and links them to various key moments in the museum’s history. In her essay she talks about [...]
    ICAA Record ID: 1257115

  • 4 Ambientación grupo Los Otros
    Los 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

  • Grupo Axioma
    The catalogue for the 1981 exhibition held at the Galería del Notariado by the group Axioma, expresses concerns about the critical view of the new artistic trends and their connection to the local environment. The group chose, by way of [...]
    ICAA Record ID: 1250744

    This essay is about a document that pertains to the exhibition and catalogue on the group Axioma that was held at the Galería del Notariado in 1982; it mentions the members of the group without a description or analysis of their exhibition concept. [...]
    ICAA Record ID: 1250717

  • Sal- si- puedes
    This is an essay on the exhibition presented by Nelbia Romero in conjunction with collaborators belonging to different artistic disciplines. This short 1983 publication relates an historical event that occurred in Uruguay in the nineteenth century of [...]
    ICAA Record ID: 1250634

  • Entrevista
    This document is a presentation and description of the performance organized by Mercedes Sayagués Areco, along with Eduardo Kepekian and Hugo Cardozo, on the esplanade of the Museo Nacional de Artes Plásticas in Montevideo on September 12, 1982. [...]
    ICAA Record ID: 1250282

  • Cinco trabajos : Álvarez Cozzi, Aramburu, Cardozo, Kepekian
    Sayagues, Mercedes
    In this essay, the journalist Mercedes Sayagués analyzed the feasibility of new artistic ideas being formulated during the last dictatorial years in Uruguay. The projects being considered tried to abolish the traditional boundaries established [...]
    ICAA Record ID: 1250155

  • Naturalezas de objetos muertos
    Kalenberg, Angel
    Clever Lara’s work is reviewed by the critic Ángel Kalenberg, who was also in charge of Uruguay’s contribution to the XLII Venice Biennial (1986). In Kalenberg’s opinion, Lara’s work is representative of the kind of painting that was [...]
    ICAA Record ID: 1247623

  • Arte correo en el Uruguay
    Padín, Clemente, 1939-
    From 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

  • Mirar desde Latinoamérica. Diálogo con Juan Acha, teórico de arte
    Caffera, Carlos, 1931-2010; Larnaudie, Olga; Torres, Alfredo, 1941-2018
    This document is an interview with Peruvian critic and theorist Juan Acha, who lived in Mexico. It sheds light on the uncertainties and concerns facing “art in Latin America” from the perspective of Uruguay and the countries of the Southern Cone [...]
    ICAA Record ID: 1246077

  • El pintor de hoy no sabe qué hacer
    Romero Brest, Jorge
    This unsigned interview with Argentinean critic Jorge Romero Brest published in the weekly Jaque is somewhat alarmist. The main topics addressed—the decline of easel painting in the world over, the avant-garde experience at the Instituto Di Tella [...]
    ICAA Record ID: 1244958

  • [Letter] 1981, Julio 21, São Paulo, Brasil [to] Clemente Padín
    Zanini, Walter, 1925-
    This 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

  • Arte postal en Latinoamérica
    Padín, Clemente, 1939-
    Clemente Padín describes and discusses his vision as a creator and promoter of Mail Art in the 1970s in Uruguay. He approaches the subject from the broad perspective of the movement’s worldwide activities, providing a comparative analysis that [...]
    ICAA Record ID: 1240703

  • La Cultura Artística en la era terrista (1933- 1943)
    Peluffo Linari, Gabriel
    In this essay the critic Gabriel Peluffo discusses the artistic and cultural policies that were introduced during the Gabriel Terra dictatorship (the so-called period of political terrismo, 1933–1938), and the institutional map that was proposed [...]
    ICAA Record ID: 1237839

  • Un momento excepcional en la Pintura Uruguaya
    Espada, Roberto de
    In this essay published in 1985, educator and literary critic Roberto de Espada describes the situation of the visual arts in Uruguay in the sixties. He analyzes how informalism was assimilated and internalized by important artists in the country and [...]
    ICAA Record ID: 1236289

  • [Letter] 1988 June 20, London [to] Adolpho Leirner
    Brett, Guy
    In this letter dated June 20, 1988, the English critic and curator Guy Brett expresses his gratitude to the Brazilian collector Adolpho Leirner and his wife, Fulvia Leirner, for the time they spent together in São Paolo. Brett is especially [...]
    ICAA Record ID: 1232349

  • El arte correo en el Uruguay
    Padín, Clemente, 1939-
    Mail Art was started in the United States in the 1960s and quickly caught on in the rest of the world. Clemente Padín—the author of this article and one of the artists who worked in this style among many others (he was a performer, poet, and was [...]
    ICAA Record ID: 1191850

  • De los grabados de ayer a las ediciones actuales
    Club de Grabado de Montevideo
    This is a report on how artists at the CGM (Club de Grabado de Montevideo) dealt with new techniques designed for the reproduction of images. The report reviews new printing systems, such as offset, and mentions the increasing popularity of silk [...]
    ICAA Record ID: 1191787

  • Palabras de clausura para un año de apertura
    Club de Grabado de Montevideo
    This is a review of the financial situation at the CGM (Club de Grabado de Montevideo, founded in 1953) in early 1983, at a time when, after ten years of civilian-military dictatorship, Uruguay appeared to be easing its way toward a democratic future [...]
    ICAA Record ID: 1191167

  • Mini grabado Internacional de Cadaqués. España
    Club de Grabado de Montevideo
    The April/May 1983 issue (Nº 16) of the Club de Grabado de Montevideo’s newsletter begins with an open invitation to the Mini Grabado Internacional de Cadaqués (on the Costa Brava in Spain, in August 1983). There is a reference to the CGM members [...]
    ICAA Record ID: 1191135

  • La necesidad de la imaginación
    Club de Grabado de Montevideo
    This article describes and analyzes the role of the “recipient” of the various messages expressed by the visual arts. At the end of the dictatorship period (1973–85), Uruguayan artists once again sought to come to grips with the question of [...]
    ICAA Record ID: 1190793

  • Definiciones / Uno
    Club de Grabado de Montevideo
    This informative and didactic article, published by the CGM (Club de Grabado de Montevideo), describes and explains a range of art styles that emerged and were developed in the United States and Europe after the Second World War. Referring to the [...]
    ICAA Record ID: 1189065

  • Sobre el papel de la crítica
    Club de Grabado de Montevideo
    This essay discusses the function of art criticism. The objective is to present a theoretical comparison between what criticism “should be” and the actual situation in Uruguay, especially during the period of authoritarian rule when the essay was [...]
    ICAA Record ID: 1187071

  • Entrevista a Luis Mazzey
    Club de Grabado de Montevideo
    The artist Luis Mazzey, a member of the Club de Grabado de Montevideo, where he was also an instructor, was interviewed a few days after his 86th birthday. He provides an overview of his career and his ideas concerning the artistic nature of [...]
    ICAA Record ID: 1186991

  • Segunda parte del reportaje a O. Ferrando
    Club de Grabado de Montevideo
    This is the second part of the interview with the artist Óscar Ferrando, the Secretary General of the Club de Grabado de Montevideo. The main subject of the interview is the trip that Ferrando took to several cities in the United States as a guest [...]
    ICAA Record ID: 1186802

  • Entrevista a Óscar Ferrando
    Club de Grabado de Montevideo
    This is the first part of an interview in which Óscar Ferrando, the Secretary General of the Club de Grabado de Montevideo, discusses his trip to the United States (to Washington, Chicago, and New York) as a guest instructor from the Instituto [...]
    ICAA Record ID: 1186747

  • Reflexiones en torno a la supuesta crisis de las artes plásticas
    Larnaudie, Olga
    In this document, the art critic and historian Olga Larnaudie discusses the art that Uruguayan artists were making in the early 1980s. The author looks at long term processes, basing her views on the writings of the Argentinean writer and critic Aldo [...]
    ICAA Record ID: 1185539

  • Club de Grabado: desde la crisis con pesar
    Peluffo Linari, Gabriel
    The crisis and feelings of “remorse” (that, in this case, connotes political impotence) of the 1980s were the result of more than ten years of military dictatorship that had effectively dismantled the network of cultural organizations that had [...]
    ICAA Record ID: 1185468

  • Unas pocas reflexiones y muchas interrogantes en torno a las Artes plásticas en el Uruguay de los últimos años.
    Larnaudie, Olga
    Drawing on the perspective gained from her association with the CGM (Club de Grabado de Montevideo), Olga Larnaudie describes the general dissatisfaction and sense of crisis she sees in the visual arts community in Uruguay. She was writing in the [...]
    ICAA Record ID: 1185426

  • Opiniones (I)
    Club de Grabado de Montevideo
    The article titled “Opiniones I” in the Boletín N° 12 (1982) published by the CGM (Club de Grabado de Montevideo) provides the Uruguayan reader with an appraisal of the current state of contemporary art, which the author claims is facing a [...]
    ICAA Record ID: 1185411

  • Judy Baca : our people are the internal exiles
    Neumaier, Diane
    In this 1981 transcript of an interview with Chicana muralist Judy Baca, artist Diane Neumaier discusses Baca’s artistic and political process as she reveals the steps involved in the implementation of a citywide mural project in Los [...]
    ICAA Record ID: 1184487

  • Cuando el Tercer Mundo se mira a sí mismo : II Bienal de La Habana
    Tiscornia, Ana, 1951-
    In this opinion piece, Ana Tiscornia addresses the second Bienal de La Habana. Rather than describe specific works or artists, she assesses the objective of the event in relation to the political framework of the eighties. The notion of the “Third [...]
    ICAA Record ID: 1184459

  • Referencias sobre identidad, cultura y arte en Latinoamérica
    Fernández, Ángel, 1945-
    In this essay, numerous questions are raised relating to national and continental identity in Latin America, after eleven years (1973–84) under military dictatorship. There is a manifest recognition of both the reality of underdevelopment, as well [...]
    ICAA Record ID: 1183641

  • Exposición Homenaje a Carlos Fossatti
    Club de Grabado de Montevideo
    When news reached Montevideo that the artist Carlos Fossatti had died in France, the Boletín del Club de Grabado de Montevideo published a review of his life and work. Fossatti was the CGM’s ideological guide in the mid-1960s, and one of the top [...]
    ICAA Record ID: 1182791