Historian Mary Roldán speaks to 20th century Colombian social and political history and argues against imposing a false historical isolation on Colombia as well as addressing areas of scholarship that need further research.
Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 – March 2017, presents the period and its art as already global, multi-faceted, and modern.
The very first scene of the video Centro Espacial Satelital de Colombia, by the art collective La Decanatura, depicts a mother cow slowly, even lovingly, stroking with her tongue a newborn calf.
Translated into English for the first time, this text by Latin American theorist Juan Acha was first presented at a conference at the Museo de Arte Moderno de Medellín in 1981 and later published as part of the conference proceedings.
Painting 9 by Hélio Oiticica was made in 1959, at a pivotal moment for a new and quintessentially Brazilian form of modernism.
Sarah Suzuki examines Schendel’s use of Japanese paper in the work at Objeto Gráfico (1967).
Art historian, theorist, critic, and museum activist Gustavo Buntinx, answers C-MAP’s 5 Questions, from a Peruvian and Latin American perspective, and challenges us to prevent the normalization of difference in the visual arts.
Curator Laura Hoptman comments on the importance of Raúl Lozza’s work Invention no. 150, which connects Concretism, Neo-Concretism, and Conceptual art movements.
Physichromie 21 by Venezuelan artist Carlos Cruz-Diez is another highlight of the Cisneros’ gift to the Museum. Anne Umland, traces this work back to the artist’s studio in Paris in the 1960s and explores the ways Cruz-Diez’s Physichromie series is dependent on active viewer participation and contingencies of lighting.
In 1973, critic and theorist Juan Acha published the text Por una nueva problemática artística en Latinoamérica in Artes Visuales. The critical essay is available here in the original Spanish as well as translated into English for the first time.
Samantha Friedman comments on the importance of the work in the development of Brazilian modern art.
Acha established himself as a vigorous critical voice in Peru at a time when Conceptualist artistic approaches and political events such as the riots and military coup of 1968 strongly inflected the local art scene.
