Museo Reina Sofía and Southern Conceptualisms Network. Projects in Common.

Cartographies/Topographies (2007-2009)

First phase of the project, which consisted in identifying researchers, institutions or collectives which are, or are able to become, custodians of these archives in Latin America; aside from the intention of elaborating a cartography of the documentary archives or deposits of critical art from 1950 until today. This first project of researching archives and documenting critical episodes in different countries of South America was initiated in Museo d'Art Contemporani de Barcelona (MACBA) in 2007, with the presentation of the reports on Argentina, Brazil, Chile and Peru. In a second phase, hosted by Museo Reina Sofía and SEACEX during 2008-2009, the scope was extended to Colombia, Ecuador and Paraguay, revealing local, ritual and indigenous links between the popular and avant-garde art not present in the initial cartographies.

Cartographies/Projects (2010)

Third phase of the cartographies, not related to the specific dynamics of the territorial in relation to the Nation State, but, rather, in relation to a series of lines of study that establish a dialog and a set of genealogies with networked organizational systems during dictatorial repression, the representation of the collective in the reclaiming of civil rights in search of a post-national and post-traditional citizen memory, the recuperation and promotion of the sum of critical interventions undertaken in Latin America from the 1950's onwards, buttressing the idea of historical specifications which do not require external models of legitimation, and the experiences of re-activation and re-reading of the archive and its devices of presentation.

The ongoing research initiatives are the following:

Critical Writings. Federico Morais Node. Elizabeth Araújo Lima, Daniela de Oliveira Mattos, Suely Rolnik and Ivana Rego Monteiro.
Artistic Partisanship and Commitment in the Esthetic of Colombia: The Work of Taller 4 Rojo and the Political Alternatives of Visual Arts in the Decade of 1970. Halim Badui.
Archives / Museums / Modernities. Joaquín Barriendos and Cristián Gómez Moya.
Critical Writings. Juan Acha Node. Stefanía Polo, Miguel López, Octavio Mercado, Henry Tarazona and María Cristina Váccaro.
Images of the Siluetazo and Other Creative Strategies in the Movement for Human Rights in Argentina. Fernanda Carvajal, Marcelo Expósito, Cora Gamarnik, Ana Longoni and Jaime Vindel.
Experiences of Network Activation: Exhibition / Archives in Tension. Graciela Carnevale.
Alternative Art Networks: Visual Poetry Publications and Mail Art.Clemente Padín Archive / Juan Carlos Romero Archive. Fernando Davis.
Critical Writings. Roberto Jacoby Node. Fernando Davis, Ana Longoni, Daniela Lucena and Julia Risler.
Alternative Art Networks: Visual Poetry Publications and Mail Art. Graciela Gutiérrez Marx. María de los Ángeles de Rueda.
Critical Writings. Walter Zanini Node. Cristina Freire and Adriana Palma.
Alternative Art Networks: Visual Poetry Publications and Mail Art.. Felipe Ehrenberg Archive / MUAC. Pilar García.
Alternative Art Networks: Visual Poetry Publications and Mail Art. Clemente Padín Archive / Paulo Bruscky Archive / Neide de Sá Archive / Brazil - Uruguay - Argentina Connections. Fernanda Nogueira.
Experiences of Network Activation: Exhibition / Archives in Tension. Soledad Novoa Donoso.
Artistic Partisanship and Commitment in the Aesthetic of Colombia: The Work of Taller 4 Rojo and the Political Alternatives of Visual Arts in the Decade of 1970. Luisa Fernanda Ordóñez.
Alternative Art Networks: Visual Poetry Publications and Mail Art. Clemente Padín.
Alternative Art Networks: Visual Poetry Publications and Mail Art.. Paulina Varas. Francisca García B.

Co-produced with SEACEX .

Southern Conceptualisms Network. Poetic-Political Re-activations (2009)

First public presentation of the Network in Europe, at a seminar that engages the possibilities of presentation of the archives and documentary and art repositories, between the threat of fetishization within the exhibition model and the appropriation by large institutions.

In parallel to this seminar, a second international meeting took place, where the Founding Manifesto and the main lines of action in research models and critical re-activation mechanisms were specified.

Co-produced with SEACEX

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