Adiós Latinoamérica: historia de un abandono estratégico. Crítica y curaduría en la producción de Gerardo Mosquera
Since 1980s Gerardo Mosquera (La Habana, 1945) has actively denounced the multiple stereotypes and hierarchies that the “Latin American Art” category imposes within a globalized art scene. His analyses of the Latin American art and culture, and other societies made him conclude that “[t]he best thin...
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| Format: | Article |
| Language: | English |
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Centro Argentino de Investigadores de Arte
2015-06-01
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| Series: | Caiana: Revista de Historia del Arte y Cultura Visual |
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| Online Access: | http://caiana.caia.org.ar/template/caiana.php?pag=articles/article_2.php&obj=181&vol=6 |
| Summary: | Since 1980s Gerardo Mosquera (La Habana, 1945) has actively denounced the multiple stereotypes and hierarchies that the “Latin American Art” category imposes within a globalized art scene. His analyses of the Latin American art and culture, and other societies made him conclude that “[t]he best thing that can happen to Latin American art is to stop being so”.
This article explores Gerardo Mosquera’s art essays and curatorial practice, and focuses on his analyses of "art" and "Latin America". Mosquera seems to suggest it is the fact that the art works are identified as “Latin-Americans” that prevents them from being identified within the “contemporary art practice”. Some of the questions I am interested in exploring in this paper are: How does Mosquera conceptualize the notion of “Latin America Art” and what are the main problems that the use of this category imposes? Why do the art works should stop being considered as "from Latin America" for them to be considered as contemporary art?
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| ISSN: | 2313-9242 2313-9242 |