in mexico

América Latina 1960-2013

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AMERICA LATINA, 1960–2013

Following the Paris exhibition, the collection will be shown in Museo Amparo in Puebla from May 24 to September 29, 2014.
Museo Amparo, Puebla, Mexico
May 24 › September 29, 2014
museoamparo.com

From November 19, 2013 to April 6, 2014, the Fondation Cartier pour l’art contemporain will present América Latina 1960-2013, coproduced with the Museo Amparo in Puebla (Mexico). The exhibition will offer a new perspective on Latin American photography from 1960 to today, focusing on the relationship between text and the photographic image.
Bringing together more than seventy artists from eleven different countries, it reveals the great diversity of photographic practices by presenting the work of documentary photographers as well as that of contemporary artists who appropriate the medium in different ways.
This unique presentation will provide the visitor with the opportunity to delve into the history of the region and to rediscover the works of major artists rarely exhibited in Europe.

Latin America : a Fascinating Region
Over centuries, Latin America has fascinated observers as much as it has mystified them; there is a sense of the exotic that derives perhaps from it having once been perceived as a “new world.” Today, while contemporary Latin American culture has received much attention, the historical circumstances surrounding its production are often less widely explored.
The exhibition América Latina will cover the period from 1960 – the year following the Cuban revolution – to today. In many Latin American countries, this period has been marked by political and economic instability, and has seen a succession of revolutionary movements and repressive military regimes, the emergence of guerilla movements as well as transitions toward democracy. By exploring the interaction between text and image in the art of Latin America over the course of the last fifty years, the exhibition provides a vivid look into this tumultuous period of history through the eyes of the artists.

Photography and Text in a Shifting World
During the era covered by the exhibition, when the climate of political upheaval required an urgent response, many Latin American artists increasingly sought to escape media specificity by bringing text and image together in their work. This new visual approach provided them with an effective tool for expressing themselves and communicating, as photography is a medium that rapidly and realistically records reality while text provides a way of expanding or altering the meaning of the image. Through these formalistic inventions the artists tried to portray the complexity and violence of the world around them and in some cases to sidestep censorship. In the 1980s the Chilean artist Eugenio Dittborn created ‘‘airmail paintings’’ which were folded up and sent all over the world, circumventing Chile’s cultural isolation under Pinochet. As for Miguel Rio Branco, a figurehead of Brazilian photography, he has depicted the underclass of a two-tiered society in a highly poetic manner.

Artists
Elías ADASME (Chili), Carlos ALTAMIRANO (Chili), Francis ALŸS (Mexique), Claudia ANDUJAR (Brésil), Antonio Manuel (Brésil), Ever ASTUDILLO (Colombie), Artur BARRIO (Brésil), Luz María BEDOYA (Pérou), Iñaki BONILLAS (Mexique), Oscar BONY (Argentine), Barbara BRÄNDLI (Venezuela), Marcelo BRODSKY (Argentine), Miguel CALDERÓN (Mexique), Johanna CALLE (Colombie), Luis CAMNITZER (Uruguay), Bill CARO (Pérou), Graciela CARNEVALE et le Grupo de Artistas de Vanguardia (Argentine), Fredi CASCO (Paraguay), Guillermo DEISLER (Chili), Eugenio DITTBORN (Chili), Juan Manuel ECHAVARRÍA (Colombie), Eduardo Rubén (Cuba), Felipe EHRENBERG (Mexique), Roberto FANTOZZI (Pérou), León FERRARI (Argentine), José A. FIGUEROA (Cuba), Flavia GANDOLFO (Pérou), Carlos GARAICOA (Cuba), Paolo GASPARINI (Venezuela), Anna Bella GEIGER (Brésil), Carlos GINZBURG (Argentine), Daniel GONZÁLEZ (Venezuela), Jonathan HERNÁNDEZ (Mexique), Graciela ITURBIDE (Mexique), Guillermo IUSO (Argentine), Alejandro JODOROWSKY (Chili), Claudia JOSKOWICZ (Bolivie), Marcos KURTYCZ (Mexique), Suwon LEE (Venezuela), Adriana LESTIDO (Argentine), Marcos LÓPEZ (Argentine), Pablo LÓPEZ LUZ (Mexique), Rosario LÓPEZ PARRA (Colombie), LOST ART (Brésil), Jorge MACCHI (Argentine), Teresa MARGOLLES (Mexique), Agustín MARTÍNEZ CASTRO (Mexique), Marcelo MONTECINO (Chili), Oscar MUÑOZ (Colombie), Hélio OITICICA (Brésil), Damián ORTEGA (Mexique), Pablo ORTIZ MONASTERIO (Mexique), Leticia PARENTE (Brésil), Luis PAZOS (Argentine), Claudio PERNA (Venezuela), Rosângela RENNÓ (Brésil), Miguel RIO BRANCO (Brésil), Herbert RODRÍGUEZ (Pérou), Juan Carlos ROMERO (Argentine), Lotty ROSENFELD (Chili), Graciela SACCO (Argentine), Maruch SÁNTIZ GÓMEZ (Mexique), Vladimir SERSA (Venezuela), Regina SILVEIRA (Brésil), Milagros DE LA TORRE (Pérou), Susana TORRES (Pérou), Sergio TRUJILLO DÁVILA (Colombie), Jorge VALL (Venezuela), Leonora VICUÑA (Chili), Eduardo VILLANES (Pérou), Luiz ZERBINI (Brésil), Facundo DE ZUIVIRÍA (Argentine)

Curators
Ángeles Alonso Espinosa, Hervé Chandès, Alexis Fabry, Isabelle Gaudefroy, Leanne Sacramone et Ilana Shamoon

Marcelo Montecino (Chili, né en 1943). Managua, 1979 © Marcelo Montecino

More

Photography and Text in a Shifting World
During the era covered by the exhibition, when the climate of political upheaval required an urgent response, many Latin American artists increasingly sought to escape media specificity by bringing text and image together in their work. This new visual approach provided them with an effective tool for expressing themselves and communicating, as photography is a medium that rapidly and realistically records reality while text provides a way of expanding or altering the meaning of the image. Through these formalistic inventions the artists tried to portray the complexity and violence of the world around them and in some cases to sidestep censorship. In the 1980s the Chilean artist Eugenio Dittborn created ‘‘airmail paintings’’ which were folded up and sent all over the world, circumventing Chile’s cultural isolation under Pinochet. As for Miguel Rio Branco, a figurehead of Brazilian photography, he has depicted the underclass of a two-tiered society in a highly poetic manner.

A Diversity of Artists and Practices
America Latina traces this bond between text and image, showing how artists have harnessed the resulting tensions to explore Latin America as a geographical concept. Divided into four sections that reflect these key ideas – Territories, The Urban Landscape, Information and Resistance, Memory and Identity – the exhibition presents the myriad ways in which Latin American artists have seized new modes of expression, and of reproduction, to explore their reality. Expanding from traditional notions of the photographic print, it thus encompasses a wide range of media including photo-offset printing, silk-screening and collages, as well as film, performance, video and installation.
For example, Brazilian artist Regina Silvera explores stereotypical ideas about Latin America
in To Be Continued … (Latin American Puzzle), an enormous mural puzzle that she created out of images appropriated from magazines and tourist guides. Using a more traditional photographic approach, Venezuela’s Paolo Gasparini captures the visual cacophony of signs engendered by rapid urban development. Using a digital printing technique to reproduce images from the popular press, Argentinian artist Juan Carlos Romero graphically denounces the rampant violence in Argentine society in his work entitled Violencia. A video called Bocas de Ceniza (Mouths of Ash), by Columbian artist Juan Manuel Echavarría, portrays those who use poetry and song to relate their personal experiences of guerilla-related violence.

Discovering Remarkable Voices
A film commissioned by the Fondation Cartier and realized by the Paraguayan photographer and director Fredi Casco gives a voice to many of the artists presented in the exhibition. Fredi Casco travelled throughout Latin America to interview 30 of the more than 70 artists included in the exhibition. These exclusive interviews provide revealing portraits of historical value offering rare and personal insight into each artist’s creative process and the context in which he or she works. Including over 500 works, America Latina highlights kinships in sensibilities across generations and countries, reflecting a richness of voices and a diversity of visual languages. It chronicles the vital legacy of Latin American artists, showing how their influence extends beyond their immediate creative circles to an audience outside the continent. A large body of work from Peru, Colombia, Venezuela and Paraguay reveals the significance of art scenes that have remained outside mainstream channels, bringing visitors a more complete and dynamic understanding of their influence on the world of contemporary art. America Latina 1960-2013 is organized by the Fondation Cartier pour l’art contemporain (Paris) and the Museo Amparo (Puebla, Mexico), in collaboration with Angeles Alonso Espinosa and Alexis Fabry and in partnership with IHEAL (Institut des Hautes Études d’Amérique latine, Paris).

GALLERY

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Vue de l'exposition América Latina 1960-2013.
    Photo : Luc Boegly

  • Ever Astudillo, sans titre, série Latin Fire, 1975-1978. Photographie noir et blanc, 8,3 x 11,4 cm. © Ever Astudillo. Collection privée, courtesy Toluca Fine Art, Paris

  • Paolo Gasparini, El habitat de los hombres…, Caracas, Bello Monte, 1968. Photographie noir et blanc, 17 x 25 cm. © Paolo Gasparini. Collection privée, courtesy Toluca Fine Art, Paris

  • Adriana Lestido, Sin título, série Mujeres Presas, 1991-1993. Photographie noir et blanc, 16,2 x 24,4 cm. © Adriana Lestido. Collection Fondation Cartier pour l’art contemporain, Paris

  • Marcelo Montecino, Managua, 1979. Photographie couleur, 20,1 x 25,3 cm. © Marcelo Montecino. Collection privée, courtesy Toluca Fine Art, Paris

  • Leonora Vicuña, El Mundo, calle San Diego, Santiago de Chile, 1981. Photomontage, 41,2 x 35,1 cm. © Leonora Vicuña. Collection Fondation Cartier pour l’art contemporain, Paris

  • Anna Bella Geiger, História do Brasil: Little Boys & Girls, 1975. Photographie couleur, 30,5 x 24 cm. © Anna Bella Geiger. Collection de l’artiste

  • Eduardo Villanes, sans titre, série Gloria Evaporada, 1994. Photographie noir et blanc, 12 x 9 cm. © Eduardo Villanes. Collection de l’artiste, Lima

  • Claudia Andujar, sans titre, série Marcados Para, 1981-1993. Photographie noir et blanc, 70 x 103 cm. © Claudia Andujar. Collection Galeria Vermelho, São Paulo

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