Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2194643
D. Wood, Rory O’Bryen
In the opening paragraph of her 2000 study of the work of the Italian-American photographer Tina Modotti, Andrea Noble (1968-2017) described writing about photography as, in the first instance, a metaphorical process of unwrapping. Reflecting on an anecdote published in Vogue magazine about a man who appeared at the front desk of the Museum of Modern Art in New York in the early 1950s bearing a large brown paper parcel with a collection of Modotti prints, Noble poses a number of questions as we imaginatively unwrap the package with her: who was this man, why did he make this donation now, what did the prints represent, what would happen to them once inside the museum? Beyond these circumstantial questions, the image of the parcel “conjures up an image of concealment, containment and mystery” (Noble 2000, x). The next stage, though, is an inverse one: a reading process that Andrea describes as “a form of re-wrapping” that requires her not only to appraise the works via critical methodologies but also to interrogate the terms of the original wrapping itself. This new critical re-wrapping is as multifarious as it is incomplete. Firmly committed as she is to both feminist scholarship (strongly influenced by the feminist art historian Griselda Pollock) and to the analysis of Mexican visual culture, Andrea steadfastly refuses to limit her understanding of Modotti’s work to one or other critical or contextual framework. As she co-wrote with Thy Phu and Erina Duganne in her last book, Cold War Camera – a work that turned out to be tragically posthumous on Andrea’s part – and drawing on Walter Benjamin’s idea of the constellation, “the meaning of a photograph (... ) is never finished but exceeds the moment of its taking” (Phu, Duganne, and Noble 2023, 14). In understanding photography and, elsewhere, cinema as complex cultural practices rather than mere objects or artefacts, Andrea seeks to maintain her objects of study in a state of revelatory suspense, as it were: a position from which they can be understood without being labelled, apprehended without being seized. In her short but brilliant career as a self-described “‘reader’ of visual culture” (2000, xi), Andrea Noble was a pre-eminent scholar of Latin American and, in particular, Mexican photography and film. Deftly interweaving close reading,
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2022.2158440
A. Castro, Gianfranco Selgas
This article examines the ways in which the cinematic practices of the audiovisual productions Farmacopea (2013) by Beatriz Santiago Muñoz (Puerto Rico) and Río Verde (2017) by Diego and Álvaro Sarmiento (Peru) address human-nature assemblages by articulating a post-anthropocentric gaze. Addressing these two movies as neoregional films, this essay discusses how these contemporary audiovisual productions explore the disastrous environmental histories of the tropical plantation in the Caribbean and the extractive exploitation of the Peruvian-Amazon jungle, exhibiting cinematic techniques that disrupt the socially committed tradition of Latin American cinema of the 1960s centred on human communities. Deploying experimental and poetic cinematic techniques, it is argued that these movies feature small matter by foregrounding local poisonous vegetation and corporal takes of humans and animals that register landscapes in disappearance in the face of modern extractive practices. Departing from Santiago Muñoz’s and the Sarmiento brothers’ filmic productions, we discuss how the embedding of Amazonian rhythms and unruly Caribbean plants in their filmic narratives produces sites of situated hope that both reconceptualise Latin American cinema and contest the necro-political violence of the modern extractive machinery.
本文探讨了Beatriz Santiago Muñoz(波多黎各)的视听作品《Farmacopea》(2013年)和Diego和Álvaro Sarmiento(秘鲁)的视听作品《Río Verde》(2017年)的电影实践方式，通过阐述后人类中心主义的视角来解决人与自然的组合问题。本文将这两部电影视为新区域电影，讨论了这些当代视听作品如何探索加勒比热带种植园的灾难性环境历史和秘鲁-亚马逊丛林的采掘性开发，展示了电影技术，破坏了20世纪60年代以人类社区为中心的拉丁美洲电影的社会承诺传统。采用实验性和诗意的电影技术，这些电影通过突出当地有毒的植被和人类和动物的身体来表现小事，这些都记录了面对现代采伐行为而消失的景观。从圣地亚哥Muñoz和萨米恩托兄弟的电影作品出发，我们讨论了亚马逊节奏和不受控制的加勒比植物如何在他们的电影叙事中嵌入，从而产生了定位希望的场所，既重新定义了拉丁美洲电影，又挑战了现代采掘机的死亡政治暴力。
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2166784
Ángeles Donoso Macaya
This article examines the photographic archive of the women’s and feminist movement against the civil-military dictatorship in Chile. This corpus is composed of photographic records disseminated by independent media and in alternative publications edited by organisations of women and feminists. Starting from these records, I interrogate the analytical modalities traditionally adopted by photography criticism in Chile when approaching the relationship between “women” and photography. This reflection is oriented around the theoretical and critical work of Andrea Noble: in particular, Noble’s reading of Tina Modotti, in which she interrogates and reconsiders the modes of doing photography criticism. The article proposes that the photographic archive expands in space and through time, through the reproduction and circulation of similar or repeated images in distinct media. This expansion enables other ways of seeing and enunciating “protest” in public space at the local level. The analysis emphasises the repetitive quality of the images, and highlights the occasional presence of other photographers in the frame, as aspects that allow the spectator to appreciate and considerate how the visual expansion of the women’s movement operates in public space.
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2170175
Mane Adaro
The military dictatorship in Chile (1973–1989) promoted an ideology of the individual body, dismantling all social and collective matrices. The various artistic expressions discussed in the following text can be seen as practices of situated memory, that link the violence of that period to the exercise of a necessary intersubjectivity between different spaces of intervention and bodies. In doing this, and by taking as a starting point collective and the notion of alienated space, the aim is to reconstitute a conscious corporeality of memory and collectivity. This paper seeks to revise interpretations of these performative and photographic exercises and to ask how meaning can be produced without subjecting memory to a process of reification or immobilisation.
{"title":"Passing Through the Body: Recent Exercises of Memory and Collectivity, Forty Years After the Dictatorship in Chile","authors":"Mane Adaro","doi":"10.1080/13569325.2023.2170175","DOIUrl":"https://doi.org/10.1080/13569325.2023.2170175","url":null,"abstract":"The military dictatorship in Chile (1973–1989) promoted an ideology of the individual body, dismantling all social and collective matrices. The various artistic expressions discussed in the following text can be seen as practices of situated memory, that link the violence of that period to the exercise of a necessary intersubjectivity between different spaces of intervention and bodies. In doing this, and by taking as a starting point collective and the notion of alienated space, the aim is to reconstitute a conscious corporeality of memory and collectivity. This paper seeks to revise interpretations of these performative and photographic exercises and to ask how meaning can be produced without subjecting memory to a process of reification or immobilisation.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44304015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/13569325.2022.2158310
Rodrigo López Martínez
This article examines Glauber Rocha’s Di-Glauber as a filmic rereading and interrogation of Brazilian Modernismo and Emiliano Di Cavalcanti’s position in the Brazilian artistic tradition. Di-Glauber transforms Di Cavalcanti’s funeral into an anthropology of images, exploring established and possible relations between art, death, and society. Its unorthodox cinematic approach deconstructs Modernismo and Di Cavalcanti’s canonisation within Brazil’s “official” and transcendental national identity. First, Di-Glauber presents an affective account of Rocha and Di Cavalcanti’s friendship, diverting the painter’s institutionalisation through an immanent prism. Then, the film deconstructs its own representational status, self-reflexively exposing itself as an audiovisual artefact and hindering its eventual utilisation as part of an essentialist Brazilian identity. Di-Glauber paradoxically draws upon avant-gardist means to question the avant-garde’s canonisation: Rocha’s anthropophagy devours Di Cavalcanti and Modernismo to reclaim the political potential of the Brazilian artistic avant-garde.
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2176709
David Fajardo Tapia
This paper sets out to examine the interpretative differenda arising over photographs promoted by the Mexican government and those distributed by the rebels after the conflict known as the Guerra cristera [Cristero War] (1926–1929). While Federal photography was characterised by its dissemination of punitive acts, the Cristeros (as the anti-government Catholic rebels were known) lent their photographs an emotive aura out of a desire to imbue them with a devotional meaning. This analysis focuses accordingly on a photograph album dedicated to José de León Toral, who assassinated General Álvaro Obregón in July 1928. The album reframes the figure of José de León Toral to establish images of a model life by emphasising the supposed sacrifice implied in the Potosino assassin’s execution by firing squad. Through its emphasis on emotivity, the album sets up an interpretation of José de León Toral as a kind of sacred figure.
本文旨在考察墨西哥政府宣传的照片和在被称为“基督战争”(Guerra cristera, 1926-1929)的冲突后叛军分发的照片在解释上的差异。虽然联邦摄影的特点是传播惩罚行为，但Cristeros(被称为反政府天主教叛军)给他们的照片赋予了一种情感的光环，因为他们希望给照片注入一种虔诚的意义。因此，本文的分析重点是一本献给1928年7月暗杀Álvaro Obregón将军的约瑟夫·德·León·托拉尔的相册。这张专辑重新塑造了jos de León托拉尔的形象，通过强调波托西诺刺客被行刑队处决时所隐含的所谓牺牲，建立了一种模范生活的形象。通过强调情感，这张专辑将jos de León托拉尔作为一种神圣的人物来诠释。
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2184664
Dina Comisarenco
In this text, I analyse some of the affective and political connotations of the reappearance in the twentieth century of iconography around the resurrection of the hero, with a new revolutionary and secular sense. Transiting between the disturbing photograph with which Freddy Alborta captured the last face of Che Guevara, and moving towards some prior images dedicated to the theme of Christian lamentation, and mainly to other works that followed it and were inspired by it – the series La lección de anatomía (The anatomy lesson) (1970) by Carlos Alonso, La muerte del Che (The death of Che) (1973–1975) by Arnold Belkin, and the documentary El día que me quieras (The day you love me) (1997) by Leandro Katz – I analyse here some of the affective and political connotations of the reappearance of the iconography of the hero’s resurrection at different points during the last three decades of the twentieth century, with a new secular and revolutionary meaning.
在本文中，我以一种新的革命和世俗感，分析了二十世纪围绕英雄复活的图像学再现的一些情感和政治内涵。在弗雷迪·阿尔波尔塔拍摄切·格瓦拉最后一张脸的令人不安的照片和之前的一些专门用于基督教哀叹主题的图像之间，以及主要用于后续作品和受其启发的其他作品——卡洛斯·阿隆索的系列《解剖学课》（1970），阿诺德·贝尔金（Arnold Belkin）的《车之死》（La muerte del Che）（1973–1975）和莱安德罗·卡茨（Leandro Katz）的纪录片《你爱我的日子》（El día que me quieras）（1997），具有新的世俗和革命意义。
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Pub Date : 2022-10-02DOI: 10.1080/13569325.2023.2171722
Ana María Torres Arroyo
What interests me here is to interweave stories that allow us to establish connections between social and cultural movements in order to approach 1970s collective artistic practices in Mexico as political actions, and also as experimental, participative, and conceptual praxis. This article discusses the category of “cultural” and “visual guerrillas” as a micro-political locus of institutional critique and gives visibility to paradigm shifts through certain collective artistic interventions, which are analysed as founding memories that simultaneously activate the political and the affective dimensons in our present in order to resist public policies of forgetting.
{"title":"Collective Actions-Visual Guerrillas-Spectral Bodies","authors":"Ana María Torres Arroyo","doi":"10.1080/13569325.2023.2171722","DOIUrl":"https://doi.org/10.1080/13569325.2023.2171722","url":null,"abstract":"What interests me here is to interweave stories that allow us to establish connections between social and cultural movements in order to approach 1970s collective artistic practices in Mexico as political actions, and also as experimental, participative, and conceptual praxis. This article discusses the category of “cultural” and “visual guerrillas” as a micro-political locus of institutional critique and gives visibility to paradigm shifts through certain collective artistic interventions, which are analysed as founding memories that simultaneously activate the political and the affective dimensons in our present in order to resist public policies of forgetting.","PeriodicalId":56341,"journal":{"name":"Journal of Latin American Cultural Studies","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49540376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-26DOI: 10.1080/13569325.2022.2101439
C. Gaínza, C. Zúñiga, J. González
In this article, we will discuss the preservation of works of Latin American digital literature and the construction of digital archives. Starting from a discussion of the concept of digital literature, we will broach the implications and challenges of digital preservation and archiving, concerning the works we collected for the project “Cartography of Latin American Digital Literature”. Finally, we will present ideas and questions which arise from this work related to innovation, digital aesthetics, and the experience of creating an archive of Latin American digital literature in times of impermanence.
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Pub Date : 2022-09-26DOI: 10.1080/13569325.2022.2107497
Andrea Aramburú Villavisencio
This article takes as its subject Impatience, a self-published collection of short and medium-length comics made between 2012 and 2016 by Mexican comics artist Inés Estrada. Inspired by the queer curations of Gayatri Gopinath (2018), I develop a curatorial reading of Estrada’s comics in dialogue with the work of Chicana theorist and writer Gloria E. Anzaldúa. I draw especially on Anzaldúa’s take on the Nahuatl concept of nepantla and her theory of the nepantlera, that is, those who offer strategies for tactically navigating the transitional, whether that is via their writing, healing practices, art, and/or activism. My close reading of three comics in the collection, namely “The multiverse is inside of you / You are inside of the multiverse”, “Cenote”, and “Víbora”, examines how Estrada gives form to the epistemological, affective, and embodied materiality conveyed by Anzaldúa’s nepantla. My aim is to situate the account of the human presented by Impatience within a transtemporal genealogy of Latina and women-of-colour feminist and queer thought. In keeping with this, I argue that Estrada’s collection envisions the human body as a material entity that communes with the nonhuman and the environment, and it does so by experimenting with the specificities and formal capacity of the comics medium.
本文以墨西哥漫画艺术家因萨梅斯·埃斯特拉达于2012年至2016年自行出版的中短篇漫画作品集《急躁》为主题。受到Gayatri Gopinath(2018)的酷儿策展的启发，我与墨西哥理论家和作家Gloria E. Anzaldúa的作品对话，对埃斯特拉达的漫画进行了策展阅读。我特别引用Anzaldúa对纳瓦尔特人的nepantla概念和她的nepantlera理论的看法，即那些通过写作、治疗实践、艺术和/或行动主义为过渡提供策略的人。我仔细阅读了合集中的三幅漫画，分别是“多重宇宙在你体内/你在多重宇宙中”、“Cenote”和“Víbora”，研究了埃斯特拉达是如何为Anzaldúa的nepantla所传达的认识论、情感和具体物质性赋予形式的。我的目的是将《急躁》中对人类的描述置于拉丁裔、有色人种女性主义者和酷儿思想的跨时代谱系中。为了与此保持一致，我认为埃斯特拉达的收藏将人体想象成一个与非人类和环境交流的物质实体，它通过实验漫画媒介的特殊性和正式能力来实现这一点。
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