The politics of art and art scenes in Latin America (I)

April 30, 2015

This is the first in a short series of two issues that will discuss the political function of art in diverse, past and contemporary contexts in Latin America. The examples in issue 10 are taken from Mexico, Uruguay, Chile, Argentina and Brazil.

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The politics of art and art scenes in Latin America (I)
The first of two issues that will discuss the political function of art in diverse, past and contemporary contexts in Latin America.
Some Thoughts on Art in Mexico from the 1990s and 2000s
In the past decade or so, an alliance between the state, corporations, private initiatives and art market was consolidated in Mexican cultural production.
Culture under surveillance: the plays that annoyed the dictatorial Uruguayan regime "Libertad, Libertad" and "La Reja"
The independent theatrical actions and events in Uruguay took place over periods of political violence, suffering the repression and persecution by the government of Jorge Pacheco Areco. Also during the dictatorial regime, the independent theater movement had a fundamental role to play
Politics of Collectivity: Muralism and Public Space in the Practices of the Brigada Ramona Parra during the Unidad Popular
During the rise of the Chilean Left in the 60s, important public art organizations emerged that revolutionized strategies for political propaganda. Created in 1968 at the 6th Congress of the Communist Youth of Chile (JJ.CC), the Brigada Ramona Parra (BRP) was arguably the most remarkable of these organizations
Pablo Larraín’s No and the Aesthetics of Television
Pablo Larraín’s No (2012) is a Janus-faced film, documentation and interpretation. The movie reconstructs the events surrounding the 1988 Chilean referendum through the perspective of the fictional René Saavedra, an advertising executive hired to run a television campaign to end General Augusto Pinochet’s rule.
Notes on occupation and a hypothesis to be developed by practice
How to create a link between processes in art and processes in life without aestheticizing life as form” or without allowing the occupation of life to reach its peak?
Art, Body and Politics in the 80s: Disobedient Aesthetics in the Underground Scene of Buenos Aires
The citizenship and social life atomism created by the Argentinian dictatorship were faced with the challenging values of collective production and creation of the celebrations held during the 80s.
Shooting a Movie/Cleaning a Tunnel: Jonathas de Andrade and Alexandre Orion’s interventions in Recife and São Paulo, Brazil
The projects by de Andrade and Orion demonstrate an awareness of the flaws in the political and cultural system and make productive use of them
Notes about art and police in Córdoba, Argentina
The relations between art and police are not that noticeable until they are almost too noticeable. The same could be said about the way other social practices (for example sports, gastronomy or mechanics) are linked to the police

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