Accueil du site > Séminaire > Circulations artistiques en et hors Amérique latine, 2013-2014 > 7 November 2013 : "Universal Patrimonies," Daniel R. Quiles (SAIC / (...)
The first half of this seminar will offer a rough methodological overview of Latin American art history, particularly in the last fifteen years as abstract, participatory and conceptual art have increasingly commanded curatorial and art historical attention. I will pinpoint ways in which permanent geographical and cultural indeterminacy around the region and its modernization have proven both blessing and curse for scholars as the larger field’s priorities have changed. If, as Cuban critic Gerardo Mosquera writes, Latin America is “an invention we can reinvent,” to what extent can it complicate “global art history” even while serving as exemplary ?
In the second hour, I will provide the case study of my own book project, which situates “Argentine conceptualism” between the initial reception of Pop in Argentina in the early 1960s and the emergence an entire art institution dedicated to including local conceptual practices in international exhibitions and publications. I will focus on Oscar Masotta’s 1965 lectures on Pop, a fascinating example of the “peripheral reception” of the trend that matches artists such as Warhol and Segal with French structuralism, among other internationally circulating methods of the era. My argument is that a “local” mode of conceptual art was developed from this initial point of investigation, as borne out in a number of subsequent works by artists who studied with Masotta in his weekly reading groups. Masotta’s conceptualism underwent a complicated revision amidst the radicalization of this generation of artists in 1968, and again in the early 1970s, when it was adapted—and simultaneously repressed, in terms of these origins—at the Centro de Arte y Comunicación.
November 7 Seminar Daniel R. Quiles : “Universal Patrimonies” Bibliography