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 [...]

In his review of Quadrivium, the installation by Gonzalo Díaz, Alberto Madrid claims that it consists of didactic sheets that can be interpreted as a display of different “lessons about things.” The project, which was dedicated to [...]

Nelly Richard discusses the work of the following Chilean photographers: Gonzalo Díaz, Eduardo Vilches, Alicia Villarreal, Enrique Zamudio, and Alfredo Jaar. Richard explains how each of these artists uses and contextualizes photography, and [...]

"El día de Díaz" is a text written by Pablo Oyarzún on the subject of Biografía, a work by Gonzalo Díaz. Oyarzún provides a detailed description of the piece, a triptych in which each part [...]

In this article Pablo Oyarzún provides a critical review of the art produced over the course of three decades. He notes the lack of a tradition that could bear witness to and interpret art production in Chile. From the early twentieth century& [...]

In this essay Adriana Valdés discusses Pintura por encargo (Commissioned Painting), the work by the visual and Conceptual artist Gonzalo Díaz. Valdés describes it as follows: the viewer stands before a commissioned portrait of D& [...]

Nelly Richard focuses on a number of artists as part of her assessment of the status of painting in Chile during the 1970s and 1980s. She discusses a selection of works by a group of artists who take a critical approach to the painting tradition, [...]

Justo Pastor Mellado’s essay “Breve nota sobre pintura chilena: 1950–88,” introduced the traveling exhibition Cirugía Plástica [Plastic Surgery] to Berlin audiences. Mellado mentions certain specific features of [...]

   In her essay “Sobre arte y política(s): contraoficialidad, poder y lenguajes,” written for the exhibition catalogue Cirugía plástica (Plastic Surgery), Nelly Richard reflects on the socio-political and [...]

Justo Pastor Mellado explains the reasons that motivated the Chilean submission to the X Mostra da Gravura, which was a desire to articulate a new artistic cartography. The hypothesis he lays out in this text points to formal movements in the field [...]

Pablo Oyarzún, the Chilean essayist, discusses Quadrivium, the installation by Gonzalo Díaz. He begins by describing previous installations whose formal designs were also based on the Stations of the Cross and identifies components of [...]

This article appeared in Lecciones de cosas. 7 textos postfacio, the catalogue about Quadrivium ad usum Delphini (1998), the installation by Gonzalo Díaz. Drawing on his schooling and experience as a philosopher, Sergio Rojas ponders the [...]

In this essay Justo Pastor Mellado discusses Quadrivium, the exhibition of works by Gonzalo Díaz, presenting a critical overview of the latter’s production since 1982. Mellado’s review could be split into two parts, each of which [...]

This article by Adriana Valdés appeared in the catalogue Lecciones de cosas. 7 textos postfacio about the installation Quadrivium ad usum Delphini (1998) by Gonzalo Díaz. The author bases her review of the texts in the book on a [...]

In this essay Pablo Oyarzún, an authority on philosophical matters, discusses Lonquén 10 años (Lonquén 10 Years), the installation by the Chilean artist Gonzalo Díaz, keeping in mind the procedures, relationships, [...]

The critic and curator Justo Pastor Mellado writes about Gonzalo Díaz’s participation in the exhibition Cuatro artistas chilenos en el CAYC de Buenos Aires: Díaz, Dittborn, Jaar, Leppe. Pastor Mellado discusses the role that D& [...]

Unable to refer specifically to the works that would be shown at the exhibition about which he was attempting to write, Pablo Oyarzún, the Chilean essayist and an authority on philosophy, discusses the idea involved in the term “context& [...]

This text by Nelly Richard is based on a collection of quotes, which trace an argumentative arc that express her ideas about the exhibition she is reviewing. She also discusses certain situations in the art field at the time that show how the first [...]

The document "Eugenio Dittborn y Gonzalo Muñoz: a propósito de la Historia sentimental de la pintura chilena de Gonzalo Díaz" (Eugenio Dittborn and Gonzalo Muñoz: On the Subject of the Sentimental History of [...]

In this text, Klenzografía; área movediza de la pinturita (Klenzography: The Shifting Area of Minor Painting), Victor Hugo Codocedo refers to the “Klenzo girl” painted by the Chilean artist Gonzalo Díaz. Codocedo [...]

Nelly Richard discusses Gonzalo Díaz’s painting, which she sees as an example of a revitalizing trend in Chilean visual arts that, in her opinion, had been waning in recent art exhibitions during that time. Richard claims that Dí [...]

In this text the cultural critic Nelly Richard poses two questions: What strategy is being used? And what is the policy as regards to a cultural approach? Richard’s questions inform her analysis of the ideas underpinning the Provincia señ [...]

In this essay Nelly Richard addresses the new approach to painting taken by some artists in response to what she referred to as the Escena de Avanzada. In her review of the BENMAYOR/DIAZ/DITTBORN/DUCLOS/LEPPE exhibition, Richard discusses the [...]