Casa Daros Library: a nascent Latin American contemporary art library in Brazil

2014 ◽  
Vol 39 (4) ◽  
pp. 21-26
Author(s):  
Ranieli Piccinini
Keyword(s):  
Art Education ◽  
Contemporary Art ◽  
Latin American ◽  
Rio De Janeiro ◽  
American Art ◽  
Latin American Art ◽  
The World ◽  
The Subject ◽  
Historical Heritage ◽  
The City

In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.

Tamayo, Rufino (1899–1991)

2018 ◽  
Author(s):  
Valentina Locatelli
Keyword(s):  
Latin American ◽  
Abstract Expressionism ◽  
American Art ◽  
Latin American Art ◽  
Diego Rivera ◽  
Avant Garde ◽  
The World ◽  
Emotional Aspects ◽  
Poetic Realism ◽  
Jose Clemente Orozco

A Mexican painter and muralist of indigenous heritage, Rufino Tamayo was one of the most important representatives of figurative abstraction and poetic realism in 20th-century Latin American art. A supporter of the universalistic approach to art, in the late 1940s he started a controversy—the so called ‘‘polémica Tamayo’’—by positioning himself against the classical Mexican school and its ‘‘Big Three,’’ the muralists José Clemente Orozco, Diego Rivera and Alfaro Siqueiros. Contrary to the stress they put on art as political, Tamayo focused on its poetic and emotional aspects. Tamayo’s art is based both on Mexican figurative traditions (characterized by the rigor and geometry of pre-Hispanic sculpture and its imaginative and magical character), and on the influence of European and North American avant-garde movements, especially Impressionism, Fauvism, Cubism, Futurism, Surrealism and Abstract Expressionism. His sensibility for nature and spirituality, his interest in ordinary people, and his ability to synthesize different pictorial languages with Mexican folk art and beliefs, have made him a very popular artist, nationally and internationally. Throughout his career Tamayo directed his effort ‘‘towards the salvation of painting, the preservation of its purity and the perpetuation of its mission as translator of the world’’ (Paz 1985: 23).

scholarly journals Mapping the Presence of Latin American Art in Canadian Museums and Universities

2019 ◽  
Vol 1 (2) ◽  
pp. 33-57
Author(s):  
Alena Robin
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Latin American ◽  
Art History ◽  
Visual Art ◽  
El Paso ◽  
American Art ◽  
Latin American Art ◽  
Public Consciousness ◽  
America Latina

This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and dialogue among these disparate stakeholders to establish underlying narratives. RESUMEN Este ensayo busca ofrecer una visión general de cómo los museos y universidades canadienses han accedido históricamente a la cultura visual latinoamericana para identificar formas potenciales de mantener el interés, racionalizar iniciativas y promover el acceso. El objetivo del proyecto es contribuir a una comprensión hemisférica y transnacional de la historia y el crecimiento en Canadá del campo del arte latinoamericano y su subcampo del arte precolombino, colonial, moderno y contemporáneo. Si bien el estudio de la historia del arte entre los museos y las universidades canadienses ha seguido el paso del interés que ha habido en el arte y la cultura visual latinoamericanos durante décadas, sigue habiendo desafíos considerables para hacer que el arte latinoamericano ocupe un lugar de primera línea en la conciencia pública. A pesar de los esfuerzos pioneros de museos y universidades canadienses, el arte visual latinoamericano ha permanecido en gran parte desconocido e infrautilizado. Específicamente, este ensayo aboga por una mejor colaboración entre las instituciones canadienses que participan en iniciativas relacionadas con el arte visual de América Latina, y pretende alentar el diálogo entre estas diferentes partes interesadas para establecer narrativas comunes. RESUMO Este ensaio procura fornecer uma visão geral de como os museus e universidades canadenses historicamente acessaram a cultura visual latino-americana a fim de identificar formas potenciais de manter o interesse, simplificar iniciativas e promover o acesso a ela. O projeto visa contribuir para uma compreensão hemisférica e transnacional da história e do crescimento no Canadá do campo da arte latino-americana e seus subcampos – arte pré-colombiana, colonial, moderna e contemporânea. Embora o estudo da história da arte entre os museus e universidades canadenses tenha acompanhado o interesse de décadas na arte e na cultura visual da América Latina, ainda existem desafios consideráveis ​​para levar a arte latino-americana à vanguarda da consciência pública. Apesar dos esforços pioneiros dos museus e universidades canadenses, a arte visual latino-americana permaneceu em grande parte desconhecida e subutilizada. Especificamente, este ensaio defende uma melhor colaboração entre instituições envolvidas em iniciativas de arte visual latino-americanas em todo o Canadá, e o incentivo ao diálogo entre esses diferentes atores para estabelecer narrativas subjacentes.

scholarly journals El Multiculturalismo Canadiense ante el Arte y los Testimonios de Constanza Camelo Suárez

2017 ◽  
Vol 11 (1) ◽  
pp. 14
Author(s):  
Alexandre Beaudoin Duquette
Keyword(s):  
Public Space ◽  
Latin American ◽  
American Art ◽  
Latin American Art ◽  
Visual Artist ◽  
Canadian Citizenship ◽  
The Relationship ◽  
The City ◽  
Canadian Multiculturalism ◽  
The Universe

ResumenConstanza Camelo Suárez es una artista visual de origen colombiano que vive en la provincia de Quebec, en Canadá.  En el año 2008, realizó un performance en una importante estación del metro de la ciudad de Montreal, que llevaba por título Dilatar o contraer el universo.  En el marco de esta intervención, un grupo de inmigrantes guiados por perros lazarillo caminaban con los ojos vendados por los pasaportes de sus países de origen y llevaban puesto en su cintura unos aparatos de los cuales emanaban de manera aleatoria las notas de los himnos nacionales de sus países respectivos, así como las del himno canadiense.  Su acción nos brinda varios elementos que nos permiten cuestionar, romper o relativizar los estereotipos del discurso propagandístico de las instituciones migratorias canadienses.  En el presente trabajo, se trata precisamente de entablar una relación disonante entre el performance y fragmentos de testimonios de Constanza Camelo Suárez y una “historia de éxito” que fue publicada en el sitio Internet del Ministerio de Ciudadanía e Inmigración canadiense en el año 2011 y que lleva por título María Aragón: una joven canadiense de 10 años que causa sensación en YouTube.  Lo anterior se lleva a cabo analizando las siguientes fuentes de disonancia, entendida como la relación entre elementos de información incompatibles: multiculturalismo/transculturalidad, consenso/accidentes situacionales, ocupación del espacio público/espacio masivo ocupado, demostración de fuerza/demostración de vulnerabilidad.Palabras-claves: Arte latinoamericano, diáspora latinoamericana, diáspora colombiana, migración a Canadá, multiculturalismo canadiense, propaganda migratoria. Canadian Multiculturalism face the Art and Testimonies of Constanza Camelo SuárezAbstract Constanza Camelo Suárez is a visual artist of Colombian origin living in the province of Quebec, Canada. In 2008, she performed at an important subway station in the city of Montreal, with the title Dilate or contract the universe. As part of this intervention, a group of immigrants guided by guide dogs walked blindfolded by the passports of their countries of origin and wore on their waist some apparatuses from which emanated random notes of the national anthems of their respective countries, as well as those of the Canadian anthem. Its action gives us several elements that allow us to question, to break or to relativize the stereotypes of the propagandistic discourse of the Canadian migratory institutions. This present work, it is precisely to establish a dissonant relationship between the performance and fragments of testimonies of Constanza Camelo Suárez and a "success story" that was published on the Internet site of the Canadian Citizenship and Immigration Ministry in 2011 and which is titled "María Aragón: a 10-year-old Canadian girl who makes a sensation on YouTube". This is done by analyzing the following sources of dissonance, understood as the relationship between incompatible information elements: Multiculturalism / transculturality, consensus / situational accidents, occupation of public space / mass space occupied, demonstration of strength / demonstration of vulnerability. Key words: Latin American art, Latin American diaspora, Colombian diaspora, migration to Canada, Canadian multiculturalism, migratory propaganda. Multiculturalismo Canadense perante a arte e os Testemunhos de Constanza Camelo SuárezResumoConstanza Camelo Suarez é uma artista visual da Colômbia que vive na província do Quebec, no Canadá. Em 2008, ela realizou uma performance em uma grande estação de metrô da cidade de Montreal, que foi intitulada Expandir ou contrair o universo. Como parte dessa intervenção, um grupo de imigrantes guiado por cães-guia andou com os olhos vendados pelos passaportes de seus países de origem e usava em suas cinturas equipamentos que emanavam notas aleatórias dos hinos nacionais de seus respectivos países, bem como do hino canadense. Sua ação dá-nos vários elementos que nos permitem questionar, relativizar ou romper os estereótipos do discurso propagandístico de instituições de imigração canadense. Neste artigo, trata-se precisamente de demonstrar a relação dissonante entre a performance e fragmentos dos depoimentos de Constanza Camelo Suarez e a "história de sucesso", que foi publicada no site do Ministério da Cidadania e Imigração do Canadá em 2011 e intitulado "María Aragón: uma mulher canadense jovem de 10 anos causou sensação no YouTube". Isto é feito através da análise das seguintes fontes de dissonância, entendida como a relação entre elementos de informação incompatíveis: Multiculturalismo / transculturalidade, consenso / acidentes situacionais, ocupação do espaço público / espaço ocupado, demonstração de força / demonstração de vulnerabilidade.Palavras chave: arte latino-americana, diáspora latino-americana, diáspora colombiana,  migração para o Canadá,  multiculturalismo canadense, propaganda migratória 

Looking at New Trends and Policies in Latin American Art Education

2017 ◽  
pp. 157-170 ◽  
Author(s):  
Belidson Dias ◽  
Irene Tourinho ◽  
Fernando Miranda ◽  
Olga Lucia Olaya Parra ◽  
Vanessá Freitag ◽  
...  
Keyword(s):  
Art Education ◽  
Latin American ◽  
American Art ◽  
Latin American Art

scholarly journals Brazilian Art and the Dilemma of Globalization: Strategies of Internationalization and Cultural Affirmation in Two 1990s Biennials

Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 136
Author(s):  
Maria de Fátima Morethy Couto
Keyword(s):  
Latin American ◽  
American Art ◽  
Latin American Art ◽  
Porto Alegre ◽  
The Third ◽  
Brazilian Art ◽  
History Of ◽  
Cultural Affirmation ◽  
South Of Brazil ◽  
The City

This paper will address specifically the 24th edition of the São Paulo Biennial (1998), which took up Oswald de Andrade’s concept of anthropophagy as a guiding axis, but it will also bring to light the first edition of the Mercosul Biennial, which was held in 1997 in the city of Porto Alegre, situated in the south of Brazil, with the intention of establishing itself as a space for promotion of Latin American art. Both biennials are private entities, supported by autonomous foundations, but which require public funds to carry out their shows. It is noteworthy that those two shows were held a few years after the third edition of the Havana Biennial, which is widely recognized as a landmark in the history of the biennials based on South–South dialogue. I will point out the connections between the proposals of these exhibitions as well as relate them to the Brazilian economic situation at the time and the dilemma of globalization.

The First History of Latin American Art

1946 ◽  
Vol 2 (03) ◽  
pp. 357-368
Author(s):  
Robert C. Smith
Keyword(s):  
Latin American ◽  
American Art ◽  
Good Deal ◽  
Colonial Period ◽  
Spanish America ◽  
Latin American Art ◽  
History Of ◽  
The Subject ◽  
First Time ◽  
Attention To Detail

Students of Latin American art of the colonial period will agree that this book, which deals with the development of architecture in Spanish America during the sixteenth century, is the most important analysis of the subject that has yet been made. Prepared with the assistance of the Spanish government and the cooperation of private investigators and government agencies in Latin America, this book is the first of a series of volumes which, it is to be hoped, will eventually present the whole history of Hispanic American art. It brings together for the first time a mass of factual information taken from source material of the period concerning the earliest monuments of Spanish building from Mexico to BoliVia and interprets it in the light of Spanish architecture of the time with a knowledge and an attention to detail never before applied on such a scale. Almost without exception every building mentioned is fully illustrated, plans of the more important are provided, together with diagrams of variant architectural details such as moldings, bases and arches, and whenever possible contemporary architect’s drawings from the Archivo de Indias in Seville are submitted as well. Although a good deal of this material had previously been published in one form or another, there is much that had not been, especially in the chapters devoted to South America. The work therefore goes beyond the mere compilation of facts already recorded and presents a whole series of new monuments on the basis of original investigation.

The First History of Latin American Art

1946 ◽  
Vol 2 (3) ◽  
pp. 357-368 ◽  
Author(s):  
Robert C. Smith
Keyword(s):  
Latin American ◽  
American Art ◽  
Good Deal ◽  
Colonial Period ◽  
Spanish America ◽  
Latin American Art ◽  
History Of ◽  
The Subject ◽  
First Time ◽  
Attention To Detail

Students of Latin American art of the colonial period will agree that this book, which deals with the development of architecture in Spanish America during the sixteenth century, is the most important analysis of the subject that has yet been made. Prepared with the assistance of the Spanish government and the cooperation of private investigators and government agencies in Latin America, this book is the first of a series of volumes which, it is to be hoped, will eventually present the whole history of Hispanic American art. It brings together for the first time a mass of factual information taken from source material of the period concerning the earliest monuments of Spanish building from Mexico to BoliVia and interprets it in the light of Spanish architecture of the time with a knowledge and an attention to detail never before applied on such a scale. Almost without exception every building mentioned is fully illustrated, plans of the more important are provided, together with diagrams of variant architectural details such as moldings, bases and arches, and whenever possible contemporary architect’s drawings from the Archivo de Indias in Seville are submitted as well. Although a good deal of this material had previously been published in one form or another, there is much that had not been, especially in the chapters devoted to South America. The work therefore goes beyond the mere compilation of facts already recorded and presents a whole series of new monuments on the basis of original investigation.

scholarly journals O laicato na Conferência Episcopal Latino-americana de Santo Domingo

2018 ◽  
Vol 73 (291) ◽  
pp. 575-598
Author(s):  
Sávio Carlos Desan Scopinho
Keyword(s):  
Latin American ◽  
Subject Matter ◽  
Rio De Janeiro ◽  
Social Condition ◽  
Santo Domingo ◽  
The World ◽  
The Subject ◽  
America Latina ◽  
The Church ◽  
Pastoral Practice

Este artigo estuda a compreensão do Magistério Eclesiástico sobre o laicato na Quarta Conferência Episcopal Latino-americana, realizada em Santo Domingo (República Dominicana), no ano de 1992. Essa Conferência propôs a continuidade da reflexão sobre o laicato, a partir de sua missão e vocação na Igreja e no mundo, focada nos documentos eclesiásticos e na prática pastoral desenvolvida pela Igreja na América Latina. Portanto, a proposta deste artigo é oferecer uma visão diacrônica e sincrônica da Conferência, tendo como referência seu Documento Conclusivo, com enfoque na temática do laicato. Assim, pretende-se demonstrar que o leigo, na concepção do Magistério Eclesiástico latino-americano, teve uma evolução histórica e doutrinal, com desafios e fragilidades, mas, ao mesmo tempo, com fé e esperança, próprios de sua condição eclesial e social, constatada nas etapas de preparação, realização e aplicação da Conferência. A interpretação teológica e pastoral do Documento Conclusivo contribuirá para entender o desenvolvimento da temática, retomando os resultados das Conferências Episcopais latino-americanas do Rio de Janeiro (1955), de Medellín (1968) e de Puebla (1979), e servirá como referência para a preparação da Conferência de Aparecida (2007), que também refletirá sobre a atuação do laicato na Igreja e na sociedade.Abstract: This article studies the Ecclesiastical Magisterium understanding about the laity in the Fourth Latin American Episcopal Conference held in Santo Domingo, Dominican Republic, in 1992. This Conference proposed the continuation of the reflection on the laity, from their mission and vocation in the Church and in the world, having its focus on the ecclesiastical documents and on the pastoral practice developed by the Church in the Latin America. Therefore, the proposal is to offer a diachronic and synchronic view of the Conference, considering its Conclusive Document as reference, with regard to the subject matter of the laity. This way, it’s intended to demonstrate that the layman, in the Latin American Ecclesiastical Magisterium conception, has had a historical and doctrinal progress, with challenges and fragilities, but at the same time with faith and hope, typical of its ecclesial and social condition, verified in the preparation, accomplishment and deliberation steps of the respective Conference. The theological and pastoral interpretation of the Conclusive Document will contribute to understand the development of the referred subject matter, resuming the results of the Latin American Episcopal Conferences of Rio de Janeiro (1955), Medellín (1968) and Puebla (1979), and it will be useful as reference for the preparation of the Aparecida Conference (2007), that will also reflect on the performance of the laity in the Church and in the society.Keywords: Santo Domingo Conference. Latin American Bishops. Laity. Theology of the laity. Vocation.

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