DIVAn exploration of the impact of the 1960s and the U.S. post-cold war moment on the reception of Latin American art and artists./div

This volume examines the work of more than 100 female artists with nearly 300 works in the fields of painting, sculpture, photography, video, performance art, and other experimental media. A series of thematic essays, arranged by country, address the cultural and political contexts in which these radical artists worked, while other essays address key issues such as feminism, art history, and the political body. Published in association with the Hammer Museum. The exhibition took place from Sep 15, 2017-Dec 31, 2017, in the Hammer Museum, Los Angeles.

"This book discusses how some works of art produced in Latin America in the sixties, seventies, and eighties forged a different understanding of the female body, understood as space for the expression of a dissident subjectivity in relation to socially normalized places. Representations of art and of feminist activism interrogated the disciplining of the female body that entails as well the disciplining of the male body. Before a history of highly regulated artistic representations-regardless of the occasional exceptions a historian might point out-images erupted that questioned the social and institutional naturalization of the feminine and the masculine"--

In the framework of the celebration of the 15th anniversary of MALBA's founding, the museum presents Verboamérica, a new exhibition of its permanent collection, curated by historian and researcher Andrea Giunta and by the museum's artistic director, Agustín Pérez Rubio. The exhibition -the fruit of a wider research project that has been underway for over two years- proposes a living history of Latin America in actions and experiences, a postcolonial history that does not understand Latin American art in the terms proposed by European art, but rather on the basis of the words that the artists themselves used in devising their aesthetic agendas. As a comprehensive project, Verboamérica encompasses all areas of the museum. A catalogue was published in conjunction with the exhibition. The catalogue includes a glossary of key terms tied to the works in the collection and to the broader artistic, social, and cultural experience of Latin America. The catalogue opens with a glossary of terms, nomenclatures, and definitions that can be seen as part of a specifically Latin American vocabulary. As such, Verboamérica is a possible re-writing of modern and contemporary Latin American history. "It recognizes the works and concepts that structured the European avant-gardes to then swallow them up and add local ingredients (terms). A crucial component of the project is, for us, the power of language to create realities and to construct worlds-and not only in order to represent them: anthropophagic and speaking America," Pérez Rubio explains. The terms in the glossary are not only related to style and art; they are also political, social, literary, and cinematographic in nature. The array of terms in the glossary includes "Activism," "Destructive Art," "Military Dictatorship," "Madi," "Postcolonialism," and "LGBT." The glossary is envisioned as a living organic project; researchers and students, as well as the general public, are invited to suggest new entries on the website http://www.glosario.malba.org.ar/en. Those suggestions will then be analyzed by an advisory committee. The aim is for the glossary to expand over time and beyond the context of the exhibition. Verboamérica also brings together the research and exhaustive cataloguing of the collection's contents that has been in process under the auspice of the museum's Curatorial Department for the last two years. A team of eminent researchers in the field of Latin American art was put together and assigned, according to area of expertise, the task of compiling thorough technical information and of writing academic texts on each of the works in the collection, in order to re-write its history." --Provider web page. Some of the artists include: Claudia Andujar, Miguel Covarrubias, Tarsila do Amaral, Emiliano Di Cavalcanti, Pedro Figari, Anna Bella Geiger, Frida Kahlo, Wilfredo Lam, José Carlos Martinat, Ana Mendieta, Luis Ortiz Monasterio, Héctor Poleo, Cándido Portinari, Jesús Ruiz Durand y Xul Solar, amongst others.

As poetic as he is controversial, the renowned Argentinean Conceptualist León Ferrari (who was forced to live in exile in Brazil from 1976 to 1991, and who won a Golden Lion award at the 52nd Venice Biennale in 2007) is known for his fierce criticism of power and religion--both as an artist and as a journalist. This first major retrospective monograph brings together a selection of heliographs, drawings and collages which fiercely criticize Argentinean dictatorship, conservative religion and American authority--among many other heavily loaded subjects. It also features a selection of recent works, produced between 2004 and 2008, which include his well-known polyurethane sculptures. Throughout, Ferrari's work shuns quiet, undisturbed or serene contemplation, instead loudly joining denouncement with beauty, bliss with anguish, joy with fury. With scholarly essays by distinguished experts, an in-depth interview and a selection of texts by Ferrari himself.

This exhibition presents new insights into these artists' visual deconstructions of language and examines the connections and collisions among visual art, the word and the social world.

Lucio Fontana (1899–1968), a major figure of postwar European art, blurred numerous boundaries in his life and his work. Moving beyond the slashed canvases for which he is renowned, this book takes a fresh look at Fontana’s innovations in painting, drawing, ceramics, sculpture, and installation art. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} Fontana was an important figure in both Italy and his native Argentina, where he pushed the painterly into the sculptural and redefined the relationship between mediums. Archival images of environments, public commissions, installations, and now-destroyed pieces accompany lavish illustrations of his work from 1930 to the late 1960s, providing a new approach to an artist who helped define the political, cultural, and technological thresholds of the mid-twentieth century.

Analytical study on how the socio-economical crisis of 2001 in Argentina generated a surprising repercussion in the art local world producing the comeback of various cultural and artistic expressions and movements. During a period of political, social and economic high instability, Argentina produced an explosion of exhibitions and artistic interventions along with the inauguration of museums, art publications and blogs, and numerous related academic events. Author Giunta explores in detail each event from 2001 to 2009 and includes a glossary of terms created during this chaotic period.

¿Qué es normal en la vida y en el arte? ¿Qué es normal en la sexualidad, en la academia, en el museo? El arte, con su potencia de ruptura y extrañamiento, ha sido siempre un espacio privilegiado para poner en tensión las reglas sociales de la normalidad. Para revelar en imágenes la complejidad de un mundo vasto y diverso. Y, sin embargo, ¿es capaz de cuestionar sus propias normas, sus vías de consagración, sus instituciones, sus públicos? Diversidad y arte latinoamericano se detiene justamente allí, para recorrer la obra de artistas que, de distintas maneras, rompieron el "techo de cristal", quebraron las limitaciones que dificultaban su visibilidad, transgredieron el canon. El arte de América Latina –fruto de la multiplicidad que tramaron las experiencias de la colonialidad, la independencia, la América indígena, la América negra, las vanguardias– es también expresión de afectos, culturas y creencias minorizadas. Con minuciosa atención a la especificidad de las imágenes, pero sin perder de vista su capacidad de producir efectos políticos, Andrea Giunta recorre el escenario del arte latinoamericano entre los años sesenta y el presente. Entre Argentina, Chile, Brasil, México, Colombia, Uruguay, Paraguay y Perú, las experiencias que aborda (algunas individuales, otras colectivas) se piensan como emergentes de esas fuerzas contenidas. Desde su singularidad, las trayectorias analizadas transforman poéticas establecidas a la vez que logran interpelar sus contextos y proponer agendas: discuten el lugar de la mujer en la sociedad, las fronteras que imponen la raza o la edad, interrogan las miradas capacitistas, traen a escena formas de la sexualidad que escapan a lo normativo. Como en Feminismo y arte latinoamericano, la autora cuenta la historia de una revolución en curso, una en la que imaginar y representar el mundo desde subjetividades y formas de conocimiento disidentes supone disputar espacios y combatir mecanismos de exclusión largamente afianzados. Pero también multiplicar públicos y expandir lo sensible.