Through the analysis of three different discourses on “national art” this paper argues that the latter has functioned as an underlying discourse and played a constant and significant role in defining much of artistic production in Colombia and the debates around it. Within this framework I examine the tension between modernity and modernization that comes into view, for example, in the controversy that took place during the last century between the modernist proposals of the Bachué group, which were anti-academic and expressionist, and the attempt at modernization promoted by figures like Marta Traba, with her “updating” campaign, and Eugenio Barney with his theory of transculturation. My hypothesis is that this tension reaches a synthesis in the plastic and conceptual work of Antonio Caro, which addressed the national public. The preceding movements find their synthesis and take a qualitative leap in Caro’s interpretation of the life and work of Manuel Quintín Lame.
{"title":"The Discourse of “National Art” in Colombia","authors":"Maria Isabel Vargas Arbelaez","doi":"10.25025/hart16.2024.04","DOIUrl":"https://doi.org/10.25025/hart16.2024.04","url":null,"abstract":"Through the analysis of three different discourses on “national art” this paper argues that the latter has functioned as an underlying discourse and played a constant and significant role in defining much of artistic production in Colombia and the debates around it. Within this framework I examine the tension between modernity and modernization that comes into view, for example, in the controversy that took place during the last century between the modernist proposals of the Bachué group, which were anti-academic and expressionist, and the attempt at modernization promoted by figures like Marta Traba, with her “updating” campaign, and Eugenio Barney with his theory of transculturation. My hypothesis is that this tension reaches a synthesis in the plastic and conceptual work of Antonio Caro, which addressed the national public. The preceding movements find their synthesis and take a qualitative leap in Caro’s interpretation of the life and work of Manuel Quintín Lame.","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140686747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Cinco notas al pie (del pedestal). Sebastián Vargas Álvarez, 'Mutaciones de la piedra. Pensar el monumento desde Colombia'. Bogotá: Universidad del Rosario, 2023. 174 pp.","authors":"Daniel Castro Benitez","doi":"10.25025/hart16.2024.08","DOIUrl":"https://doi.org/10.25025/hart16.2024.08","url":null,"abstract":"","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 39","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140687880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some contemporary art practices base their discursive strategy on the amalgamation or mixture of different artistic media; these media are united and/or blended and thereby produce new aesthetic approaches to be experienced by both spectators and performers. This condition of contemporary art compels critics, historians, or writers to navigate certain unknown waters, delving into languages that are sometimes foreign to the visual arts and proper to other artistic media. In 2017, the sound artist Josep Cerdà, heir and successor to a large extent of the sculptural work developed by the Baschet brothers, was in Bogotá running a creative workshop to build a Baschet-type sound sculpture that was later used to create a sound intervention; this essay attempts an historical and aesthetic analysis based on this intervention. Readers are advised to first view and listen to the sound intervention at the following link in order to understand the development of the essay: https://www.youtube.com/watch?v=4FyYm15xGbs
{"title":"Intervención sonora en una escultura tipo Baschet","authors":"A. Nova","doi":"10.25025/hart16.2024.06","DOIUrl":"https://doi.org/10.25025/hart16.2024.06","url":null,"abstract":"Some contemporary art practices base their discursive strategy on the amalgamation or mixture of different artistic media; these media are united and/or blended and thereby produce new aesthetic approaches to be experienced by both spectators and performers. This condition of contemporary art compels critics, historians, or writers to navigate certain unknown waters, delving into languages that are sometimes foreign to the visual arts and proper to other artistic media. In 2017, the sound artist Josep Cerdà, heir and successor to a large extent of the sculptural work developed by the Baschet brothers, was in Bogotá running a creative workshop to build a Baschet-type sound sculpture that was later used to create a sound intervention; this essay attempts an historical and aesthetic analysis based on this intervention. Readers are advised to first view and listen to the sound intervention at the following link in order to understand the development of the essay:\u0000https://www.youtube.com/watch?v=4FyYm15xGbs","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140686180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Violencia (1962) by Alejandro Obregón is a milestone in the history of art in Colombia. It is regarded as an artwork that found a way to symbolize the violence suffered throughout Colombia’s territory and history through modernist tropes. The fusion of body-woman with territory-mountain has been analyzed as a formal strategy to solve the need for a non-literal image of war, but this iconic work has not yet been problematized from the perspective of gender studies. Body politics, studies on the male gaze, and ecofeminism provide the theoretical apparatus that will allow me to argue that Obregón’s painting poses a simultaneous process of territorialization of the body and feminization of the territory, where both body-woman and territory-nature are represented with analogous passive traits.
{"title":"Violencia de Obregón desde los lentes revisionistas de los estudios del género","authors":"Daniela Cifuentes Acevedo","doi":"10.25025/hart16.2024.01","DOIUrl":"https://doi.org/10.25025/hart16.2024.01","url":null,"abstract":"Violencia (1962) by Alejandro Obregón is a milestone in the history of art in Colombia. It is regarded as an artwork that found a way to symbolize the violence suffered throughout Colombia’s territory and history through modernist tropes. The fusion of body-woman with territory-mountain has been analyzed as a formal strategy to solve the need for a non-literal image of war, but this iconic work has not yet been problematized from the perspective of gender studies. Body politics, studies on the male gaze, and ecofeminism provide the theoretical apparatus that will allow me to argue that Obregón’s painting poses a simultaneous process of territorialization of the body and feminization of the territory, where both body-woman and territory-nature are represented with analogous passive traits.","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 41","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140689106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Juan Ricardo Rey-Márquez, 'India, santa,americana libertad. La transformación de una salvaje en un símbolo libertario'. Bogotá: Universidad del Rosario; Buenos Aires: Universidad Nacional de San Martín, 2022. 230 pp.","authors":"Edwin Mauricio Padilla Villada","doi":"10.25025/hart16.2024.07","DOIUrl":"https://doi.org/10.25025/hart16.2024.07","url":null,"abstract":"","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 39","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140687819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reevaluates the art of Gonzalo Ariza, a twentieth-century Colombian painter renowned for landscapes that merge Eastern and Western traditions. Challenging simplistic categorizations of his oeuvre as an “appropriated Japanese style,” my research argues that Ariza’s vision of landscape transformed into a contemplative attitude towards local Andean highlands after his return from Japan in 1938. It contextualizes the challenges Ariza faced when drawing inspiration from East Asian art amidst mid-twentieth-century modernist currents and political circumstances, shedding light on the critical narratives that marginalized his work and unraveling the complexities of Colombian modernism within a global art discourse. Building upon Warburg's concept of dynamograms to describe “pathos formula” in landscapes, this study argues that Ariza’s work transcends cultural boundaries, which links both traditions through the subtle emotions evoked by cloud-shrouded mountains, eliciting a universal appreciation for nature’s mystical splendor. Through cross-cultural comparison and an ecocritical lens, my essay delves into the interplay of transcultural exchange, nationalist identity, andrepresentations of nature in Ariza’s artworks, revealing his nostalgic proto-environmental consciousness. In doing so, it raises raising questions about the transformative power of landscape art to reflect and influence societal values and perspectives on nature within contemporary dialogues on environmental stewardship and the negotiation of cultural identity through art.
{"title":"el Whispering Clouds, Echoing Mountains: A Cross-Cultural Analysis of Gonzalo Ariza’s Lyrical Landscapes","authors":"Próspero Carbonell","doi":"10.25025/hart16.2024.05","DOIUrl":"https://doi.org/10.25025/hart16.2024.05","url":null,"abstract":"This essay reevaluates the art of Gonzalo Ariza, a twentieth-century Colombian painter renowned for landscapes that merge Eastern and Western traditions. Challenging simplistic categorizations of his oeuvre as an “appropriated Japanese style,” my research argues that Ariza’s vision of landscape transformed into a contemplative attitude towards local Andean highlands after his return from Japan in 1938. It contextualizes the challenges Ariza faced when drawing inspiration from East Asian art amidst mid-twentieth-century modernist currents and political circumstances, shedding light on the critical narratives that marginalized his work and unraveling the complexities of Colombian modernism within a global art discourse. Building upon Warburg's concept of dynamograms to describe “pathos formula” in landscapes, this study argues that Ariza’s work transcends cultural boundaries, which links both traditions through the subtle emotions evoked by cloud-shrouded mountains, eliciting a universal appreciation for nature’s mystical splendor. Through cross-cultural comparison and an ecocritical lens, my essay delves into the interplay of transcultural exchange, nationalist identity, andrepresentations of nature in Ariza’s artworks, revealing his nostalgic proto-environmental consciousness. In doing so, it raises raising questions about the transformative power of landscape art to reflect and influence societal values and perspectives on nature within contemporary dialogues on environmental stewardship and the negotiation of cultural identity through art.","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140686669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the evolution of the representation of Black women in the Caribbean photographic universe, establishing two significant moments: the foundation of the figure of the “Black woman” as a sign in nineteenth-century photography and the shift in paradigm in the work of contemporary Caribbean artists, with an emphasis on the photographic works of Renée Cox, from Jamaica, and María Magdalena Campos and Susana Pilar Delahante, both from Cuba. Some arguments from decolonial feminism, in the voice of María Lugones, are taken as theoretical sources, with an emphasis on the intersectionality between race and gender as an interpretative key to assess the evolution of the sign “Black woman” in Caribbean photography.
{"title":"The Black Woman in Caribbean Photography: Intersectional Narratives between Race and Gender","authors":"Flavia Valladares Más","doi":"10.25025/hart16.2024.02","DOIUrl":"https://doi.org/10.25025/hart16.2024.02","url":null,"abstract":"This article examines the evolution of the representation of Black women in the Caribbean photographic universe, establishing two significant moments: the foundation of the figure of the “Black woman” as a sign in nineteenth-century photography and the shift in paradigm in the work of contemporary Caribbean artists, with an emphasis on the photographic works of Renée Cox, from Jamaica, and María Magdalena Campos and Susana Pilar Delahante, both from Cuba. Some arguments from decolonial feminism, in the voice of María Lugones, are taken as theoretical sources, with an emphasis on the intersectionality between race and gender as an interpretative key to assess the evolution of the sign “Black woman” in Caribbean photography.","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 48","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140687222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'Sade. La libertad o el mal'. Centre de Cultura Contemporània de Barcelona (CCCB). 11 mayo-15 octubre, 2023.","authors":"María Clara Bernal Bermúdez","doi":"10.25025/hart16.2024.09","DOIUrl":"https://doi.org/10.25025/hart16.2024.09","url":null,"abstract":"","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140686201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The analysis of a temporary exhibition allows us to study how a particular project is inflected by cultural ideas (in this case also aesthetic ideas) and, above all, by cultural policies, i.e. museum practices and the socio-cultural and diplomatic contexts that explain the realization and morphology of a curatorial concept. In order to bring about an individual exhibition of exclusive works by Pablo Picasso in Mexico in 1944 a Society of Modern Art was founded, a private organization that copied the U.S. model of cultural mediation. This foundation was a product of bilateral financing by two powerful institutions, the Galería de Arte Mexicano owned by Inés Amor, and the MoMA, directed by Alfred H. Barr. Because of the political situation during the Second World War, the alliances between Mexico and the U.S. played a significant role. Based on a review of archival documentation and press articles of this period I attempt a reconstruction of the historical process of managing this temporary exhibition, understood as a spatial construction of political power in the collective imagination. This Mexican exhibition of works by an outstanding global artist has not been studied in terms of the messages and intentions conveyed by an ephemeral collection of objects that was deprived of its political anti-fascist dimension due to the exclusion of Guernica, which reduced it to an exhibition of avant-garde art. Guernica was not shown in Mexico for reasons that include U.S. anti-communism, Barr's desire to attract reflection towards the plastic values of Picasso's work and neutralize its potential for political resistance, and external conditions driven by internal struggles among Spanish Republicans.
通过对一个临时展览的分析，我们可以研究一个特定的项目是如何受到文化观念（这里也包括美学观念），尤其是文化政策，即博物馆实践以及社会文化和外交背景的影响，从而解释策展理念的实现和形态。1944 年，为了在墨西哥举办巴勃罗-毕加索（Pablo Picasso）个人作品展，成立了现代艺术协会（Society of Modern Art），这是一个效仿美国文化中介模式的私人组织。该基金会是两个强大机构（伊内斯-阿莫尔拥有的墨西哥艺术画廊和阿尔弗雷德-H-巴尔领导的现代艺术博物馆）双边资助的产物。由于第二次世界大战期间的政治局势，墨西哥和美国之间的联盟发挥了重要作用。基于对这一时期的档案文献和新闻报道的回顾，我试图重建管理这一临时展览的历史进程，将其理解为集体想象中政治权力的空间建构。由于《格尔尼卡》被排除在外，展览沦为了一场前卫艺术展，因而失去了反法西斯的政治意义。格尔尼卡》没有在墨西哥展出的原因包括美国的反共产主义、巴尔希望毕加索作品的造型价值引起反思并消除其政治反抗的潜力，以及西班牙共和党人内部斗争所造成的外部条件。
{"title":"Picasso without Guernica: Mexico, 1944","authors":"Ana Garduño","doi":"10.25025/hart16.2024.03","DOIUrl":"https://doi.org/10.25025/hart16.2024.03","url":null,"abstract":"The analysis of a temporary exhibition allows us to study how a particular project is inflected by cultural ideas (in this case also aesthetic ideas) and, above all, by cultural policies, i.e. museum practices and the socio-cultural and diplomatic contexts that explain the realization and morphology of a curatorial concept. In order to bring about an individual exhibition of exclusive works by Pablo Picasso in Mexico in 1944 a Society of Modern Art was founded, a private organization that copied the U.S. model of cultural mediation. This foundation was a product of bilateral financing by two powerful institutions, the Galería de Arte Mexicano owned by Inés Amor, and the MoMA, directed by Alfred H. Barr. Because of the political situation during the Second World War, the alliances between Mexico and the U.S. played a significant role. Based on a review of archival documentation and press articles of this period I attempt a reconstruction of the historical process of managing this temporary exhibition, understood as a spatial construction of political power in the collective imagination. This Mexican exhibition of works by an outstanding global artist has not been studied in terms of the messages and intentions conveyed by an ephemeral collection of objects that was deprived of its political anti-fascist dimension due to the exclusion of Guernica, which reduced it to an exhibition of avant-garde art. Guernica was not shown in Mexico for reasons that include U.S. anti-communism, Barr's desire to attract reflection towards the plastic values of Picasso's work and neutralize its potential for political resistance, and external conditions driven by internal struggles among Spanish Republicans.","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":" 48","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140687871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Un nuevo viejo conocido. La gráfica del cotidiano Reseña de la exposición Tipo, lito, calavera. Historias del diseño gráfico en Colombia.","authors":"Olga Isabel Acosta Luna","doi":"10.25025/hart15.2023.10","DOIUrl":"https://doi.org/10.25025/hart15.2023.10","url":null,"abstract":"","PeriodicalId":509608,"journal":{"name":"H-ART. Revista de historia, teoría y crítica de arte","volume":"19 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139178921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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