Colección 3. De la revuelta a la posmodernidad (1962 – 1982)

Under the notion of the death of the author, artists repudiated the paternity of the work they created, proclaiming it to be open to a diverse range of readings and experiences. New emphasis was also given to its processual, collective, performative and contingent nature. However, paradoxically, these artists would indefinitely put off the “death of art” which they understood to be a place for reflection and enunciation, although, as became apparent in the 1980s, it would also be taken as fetiche, merchandise and spectacle.

The itinerary starts with the Battle of Algiers and the Cuban Revolution. It then moves into the field, in continual expansion, of practices that no longer travel all in the same direction but rather come from very different positions, such as Tropicalism, and even from totally antagonistic directions, as is the case of feminist art. In the second part of the itinerary, we find artistic practices that gaze inwards at themselves and their languages, in counterpoint to others that choose to protest and take action against the repressive context of the dictatorships in Latin America and Spain.