Documents of Latin American and Latino Art

This newsletter announces the CAYC’s presentation at the Agora Studio in Maastricht, Holland. This event was another stop on the international tour organized for the exhibition Hacia un perfil del arte latinoamericano that, in this case, [...]

This newsletter, which is written in English, announces the September 1975 opening of a new edition (with a different title) of Hacia un perfil del arte latinoamericano, the exhibition presented by the CAYC at the École cantonale des beaux- [...]

The CAYC restated its Third World solidarity in what was then Yugoslavia (now Croatia), where it had already organized exhibitions in the past. This newsletter includes a list of participating artists whose works were shown in that edition of the [...]

This English version of the newsletter includes the announcement for Hacia un perfil del arte latinoamericano, the exhibition organized by the CAYC at the Dudley Peter Allen Memorial Art Museum, affiliated with Oberlin College, in Ohio, after touring [...]

As part of the Argentinean institution’s European tour in 1974, this newsletter announces the opening of an exhibition of Latin American art in July organized by the CAYC at the University of Fine Arts of Hamburg, Germany, with a presentation [...]

This newsletter announces the presentation of the exhibition Hacia un perfil del arte latinoamericano at the Wspókczsna Gallery in Warsaw. This was example of the ties that Glusberg was determined to strengthen with countries that were, at the [...]

This newsletter announces the dates for the “Festival de formatos no comerciales” (Noncommercial Format Festival) to be held at the CAYC and provides a list of the videos included in the “C Series,” which were produced by [...]

This newsletter introduces Hacia un perfil del arte latinoamericano, the exhibition organized by the CAYC and shown at the Amadis gallery in Madrid. The event took place after the exhibition’s earlier runs at the III Bienal de Arte  [...]

A list of works by Argentinean and international participants in the exhibition Hacia un perfil del arte latinoamericano, presented at the Museo Provincial de Bellas Artes Emilio Caraffa, in the city of Córdoba, Argentina.   [...]

John O’Connor reviews the exhibition Latin America: New Paintings and Sculpture. Juan Downey, Agustín Fernández, Gego, and Gabriel Morera (New York: Art Gallery of the Center for Inter-American Relations, 1969). O’Connor acknowledges the [...]

Hilton Kramer reviews the exhibition Latin America: New Paintings and Sculpture. Juan Downey, Agustín Fernández, Gego, and Gabriel Morera, presented at the Art Gallery of the Center for Inter-American Relations in 1969. Kramer mentions the fact [...]

This essay by Mario Soro was one of the chapters in the catalogue for the exhibition Chile 100 años (Chile 100 Years) covering the second period, 1950–73, titled “Entre modernidad y utopía” (Between Modernity and [...]

In this article, which appeared in the sixth catalogue for the Festival Franco-Chileno de Video Arte (1986), Nelly Richard discusses how video was used for artistic purposes in Chile. From a theoretical standpoint, she explores the experimental use [...]

This document includes three texts, each one written from a different perspective. The first is Lynda Kahn’s very short review of The Laughing Alligator, the video by Juan Downey, the Chilean artist who lived in New York. The second is a [...]

As part of his curatorial plan for the exhibition 1973–2000: Transferencia y densidad (1973–2000: Transfer and Density), Justo Pastor Mellado proposes that museums should reinstate works that, though ignored by the critical discourse of [...]

In this poetic, thoughtful essay, Juan Downey discusses his ideas about decadence based on a description of conditions and feelings. Downey, the Chilean artist who lived in New York City, explains that, from a third-world perspective, the decline of [...]

The theorist Justo Pastor Mellado outlines his curatorial approach for the exhibition 1973–2000: Transferencia y densidad. He begins by defining concepts such as “curator,” discussing the term’s evolution in Chile and its [...]

In this article, Carlos Aldunate casts an eye on Juan Downey’s production, referencing some of his works. He recalls his connections with the artist and Machu Picchu, calling Downey a “true artist.” Aldunate explains that some of [...]

Mary Sabbatino discusses Juan Downey’s work in depth, paying particular attention to the connection between his drawings and his videos. According to Sabbatino, drawing formed the basis of Downey’s methodology. She notes that he was [...]

In this essay Pablo Oyarzún discusses the emancipating quality of Juan Downey’s work via paidéia (teaching). The essayist notes Downey’s constant focus on the creation, circulation, and meaningful social transmission of [...]

In this text the anthropologist Pedro Mege challenges the label of “documentary” that is frequently applied to Juan Downey’s work. He suggests that Downey is an artist who presents his specific and subjective images while actively [...]

In this essay Néstor Olhagaray writes about Yanomami, the video by Juan Downey, focusing on specific moments or scenes. He analyzes the role of the “creator of images” who addresses a proposed fictional reality and its viewers. [...]

In this essay Juan Downey describes what he experienced while immersed, with his camera, in several indigenous tribes in Venezuela and Brazil. His goal was to make recordings that would facilitate connection with such environments, claiming that the [...]

In this essay Justo Pastor Mellado discusses the autobiographical nature of Juan Downey’s work, referring to the links to that genre to be found in Chile and stating that this suggests the emergence of a lesser, secondary, and recently [...]

Justo Pastor Mellado discusses Juan Downey’s work in the audiovisual series titled Transamérica and Ojo Pensante (Thinking Eye). He believes it is especially necessary to view the video Moving (1974) and draws attention to several shots [...]

Diamela Eltit escribe sobre la obra de Juan Downey, a propósito de su exposición en Chile Festival Downey. El texto se articula en dos puntos: “La patria: todas las patrias” y “Todas las patrias: la patria” cuya [...]

In this article, Juan Downey alternates between questions and certainties as he writes about video, the medium he used to create his body of work. The title refers to a phrase attributed to Marcel Duchamp, who supposedly said that artists keep [...]

In this interview, the poet Soledad Fariña asks Juan Downey about his video work and its exposure in the United States and Chile. The Chilean artist, who lives in the United States, talks about his interest in video, electronics in general, [...]