ARTMargins Online Blog
Written by Graciela Speranza
As it has been acknowledged by American art historians and critics, the past twenty years have witnessed "the rapid growth of art historical interest in the post-war period in Latin America" and "an important attempt to question inherited canons, periodizations and critical frameworks of Latin American art". But I would like to go further and even question the continental frame of the narratives of Latin American art in the broader context of contemporary art and literature. The challenge is not new but it is worth revisiting with a view to a genuine globalization of narratives written in Latin America. “We need to think of our heritage as the universe,” Borges argued in the 50's. “We can handle all the European issues,” he also wrote. “Handle them without superstition, with an irreverence that could, and already has had beneficial consequences (273).” This is what many contemporary artists and writers are doing, in fact, reconfiguring the world in their own image and expanding the scope of their horizon, without losing their singularity. Our critical narratives should then include them without superstition, without making any more distinctions than those imposed by their own works in the greater narrative of the art of the present. It is not that we have not tried to rewrite the history of Latin American art before, inverting the map, postulating alternative modernities, composing atlases with flexible frontiers and plenty more discursive acrobatics, which have fatally left us in more or less the same place, albeit with a fashionable presence on the globalized checklist of biennials, literary festivals, museums and collections: meager fruits of multiculturalism, the cultural logic of globalized capitalism. We could then start by composing larger, all-encompassing panoramas -"alter-global narratives," we could call them- that would free us from the now anachronistic divisions that limit us to local or continental histories of literature or art, coopted to supply a global narrative then composed by others, or tailored to preserve or win space for the regional specialist in the global center.
Mass Protest against Putin continue… in Venice. The Work of Factory of Found Clothes at the Venice Biennale
Written by Matthias Meindl
Written by Corina L. Apostol
"Veten," (Homeland) Zamir Suleymanov's open-ended film shown in a loop is the starting point of the current exhibition, "Heroism Rises in a Warehouse," at Salonul de Proiecte in Bucharest. The film explores the habitual movements and interactions between a group of young boys in a former Soviet era cinema in Baku, which now functions as a games centre, cafe, perfume shop and pet shop all at once. Blurring reality with cinematic fantasy, the film constructs a dynamic portrait of its main characters, while navigating the interior environment where they seem to spend most of their time - indeed the film give the impression that the young men never leave the cinema. Suggested by the title of the film, which is also the name of the former cinema - "Homeland" - playing on the idea of home, as both a private environment, as well as a public, official defined territory, the film presents life on the periphery of consumer culture, of friendship and of reality itself. The last frames of the film show a boy falling asleep on a bench, intensifying the dream-like quality of the work, suggesting that the viewer has been immersed not only in the architectural space where the young men spend their daily lives, but also the constructed space of their fantasies.
Artists Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960-1990, April 5 to June 14 at the National Gallery of Art (Washington D.C.)
Written by Zdenko Mandušić
Q&A with Co-Organizers Joanna Raczynska and Ksenya Gurshtein
(L to R)
Screening over seventy films in the spring of 2014, the series Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960–1990 set out to fill gaps in knowledge about noninstitutional film practices in Eastern Europe. Too frequently national cinemas from this region garner most of the attention, however this film series let general audiences know that the aesthetic and social elements of East European experimental films demand attention. Joanna Raczynska, an assistant curator working in the department of film programs at The National Gallery of Art, and Ksenya Gurshtein, A. W. Mellon Postdoctoral Curatorial Fellow and currently a lecturer at University of Virginia, organized the series, and continued their illuminating work by later launching a website (http://www.nga.gov/content/ngaweb/features/experimental-cinema-in-eastern-europe.html) that documents the program and much more. In addition to describing the project and its organizing principles, the site provides succinct discussions of all the films that were screened, delving into the films’ aesthetic, social, and personal contexts. The series’ digital domain magnifies the program’s original reach, producing for connoisseurs and scholars alike a new way to access, discover, and research experimental film practices in this area of the world.