This seminar intends to build a constellation of critical gazes regarding modern art in Latin America. It addresses the issues of the origins of geometric abstraction, the reciprocal influences between Europe and Latin America, and the complex processes of hybridisation between traditions and modernisms. The ways that these histories are narrated, plus the exhibition models used to present the activities of the avant-garde, are another topic of the seminar. This will give rise to a genealogy of the recent exhibition and historiographic ideas developed by these works and movements. The seminar also hopes to serve as the critical substratum that will help shape plans for the exhibition of the Patricia Phelps de Cisneros Collection (CPPC) of modern art that Museo Reina Sofía will be organizing in 2013.
Genealogies in flux
Friday, March 2. 4:30 p.m.
The seminar's first session seeks to engage in a critical rereading of the origins of abstraction in Latin America. To do so, the back and forth flow of artists and ideas will be analysed, along with the appropriations and deviations of what the canon has understood by modernism and abstraction in the 1940s and 50s.
Ariel Jiménez . Continuing Mondrian. Divergent readings
Luis Pérez-Oramas . Lygia Clark, myth and laboratory for the end of art
Guy Brett . Lygia Pape: Pape: Mondrian’s laugh
Estrella de Diego . Circle and square/Circle and cannibal
Respondent: José Luis de la Nuez
Saturday, March 3. 10:30 a.m.
The second debate focuses on three contradictory ways of narrating the phenomenon of modern art in Latin America and of determining its relevance in relation to major socio-political and cultural events.
Alexander Alberro . Sense and Sensibility in Late Twentieth-Century Brazilian Art
Luis Camnitzer . Art and Esperanto: the globes of globalisation
Andrea Giunta . Tales of originality
Respondent: Olga Fernández
The rise and reinvention of Latin American abstraction in the historiographic and curatorial discourse of today's art
Saturday, March 3. 4:30 p.m.
The third debate explores the phenomenon of the recent accumulation of curatorial projects and of rereadings of the period, so as to propose historiographic and recontextualisation models of these artistic movements and their protagonists.
Mónica Amor . Abstract geometric art on the rise: collections, institutions and publications
Cristina Freire . Museums and concrete poets in three periods
Lisette Lagnado . The drift I.S. ours?
Respondent: Francisco Godoy
Alexander Alberro is professor of modern and contemporary art and history of photography at Columbia University, New York.
Mónica Amor is professor of art history at the Maryland Institute College of Art.
Luis Camnitzer is an artist, professor, essayist and critic.
Estrella de Diego is professor of contemporary art at Universidad Complutense de Madrid.
José Luis de la Nuez is full professor at the Faculty of Humanities, Communication and Documentation at Universidad Carlos III de Madrid.
Olga Fernández is the co-ordinator of and a professor in the Contemporary Art and Visual Culture master's program offered by Museo Reina Sofía, Universidad Autónoma de Madrid and Universidad Complutense de Madrid.
Cristina Freire is deputy director of Museu de Arte Contemporânea of the University of São Paulo (MAC-USP).
Andrea Giunta is professor of Latin American art at the University of Texas, Austin.
Francisco Godoy is working on his doctorate at the post-graduate program offered by Museo Reina Sofía, Universidad Autónoma de Madrid and Universidad Complutense de Madrid.
Ariel Jiménez is an art historian and curatorial advisor of the Patricia Phelps Cisneros Collection.
Lisette Lagnado is an art critic, curator, writer and professor in the Master in Visual Arts program of the Facultad Santa Marcelina de São Paulo.
Luis Pérez Oramas is the curator of Latin American Art at New York's MoMA and also the chief curator of the 30th edition of the São Paulo Art Biennial.
With the support of: