Cover: Eugenio Dittborn. If Free to their Own Fortune, 1989-1994   Nr. 25

July - September 1997

C O N T E N T S
 
  21 Acknowledgment to Carlos Rojas
Celia Sredni de Birbragher
Natalia Gutiérrez
  31 News
  40 Book Review
Enrique Hernández d´Jesús: La semejanza transfigurada
Published by Monte Ávila, 1996
Review by Juan Carlos Palenzuela
Alejandro Xul Solar. Despedida, 1923 42 Latin American Art
Luis Camnitzer

Review of the exhibit Latin Viewpoints at the Nassau County Museum of Art in New York. The lack of theoretical rigor is discussed vis a vis the »quality« of the works exhibited. Camnitzer posits a redefinition of the artist/curator relationship as a means of ensuring that art is contextually presented.
Eugenio Dittborn. 48 Eugenio Dittborn
Víctor Zamudio - Taylor

Review of Dittborn´s exhibit Remota: AirMail Paintings at the New Museum of Contemporary Art in New York. The artwork´s transgressions and redefinitions in the field of artistic action simultaneously challenged political censorship during Chilean dictatorships. Dittborn localizes his work within the discourses of power, and his use of photography and global circuit routes create a heterogeneity of associations.
Sergio Vega. Jungle-Beard, 1996 52 Transterritorial     -   special online-presentation
Octavio Zaya

Zaya problematizes the essentializing views that maintain a fixed territorial organization for Latin American and American Art. The double exclusion of the Carla Stellweg Gallery at ARCO in Madrid is a reference point for a discussion concerning spaces of cultural creolization, the colonial quality of the term »Latin« America, and the transnational currents between the First World and Third World.

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Antonio Berni. La Voracidad, 1964 60 Antonio Berni
Nelly Perazzo

Summary of the trajectory of the »monster« sculptural works by this Argentinean artist. Berni´s use of his archetypal figure Ramona contrasts with the figure Juanito in terms of their materiality and the particular narratives they configure. The text includes various critical quotes, exhibit descriptions, and explores the artist´s formal evolution.
Marcos Lora Read. Five Carriages for History, 1991 66 Marcos Lora Read
Antonia María Cerda

Marcos Lora Read´s work is discussed in relation to his exhibit My House is Your House, My Friend in the Netherlands. Beginning with his formal interest in boats, the artist moves to the boat as a conceptual frame and a means of communication. He incorporates themes of history, colonization, journey, and protection in his work.
Jesús Soto. Sphere Lutétia, 1996 70 Jesús Soto
Fernando Carvallo

Jesus Soto´s recent exhibit at the Jeu de Paume National Gallery received critical success in a country experiencing intense debates about the state of contemporary art. The author recounts Soto´s first encounter with a Braque painting, his move to Paris, and visit to the Netherlands in relation to his desire to develop his own abstract language. The importance of kinetic art and the relationship between art and science is also discussed.
73 Interview with Jesús Soto
Francine Birbragher

The interview focuses on the artist's recent retrospective in France and current projects with the São Paulo Biennial and the Hong Kong airport. The upcoming 25th anniversary of the Jesús Soto Museum of Modern Art in Ciudad Bolívar is highlighted. Other topics include the integration of art and architecture, public participation in works of art, and the artist´s prospective work with computerization.
Stanford Watson: Sentinel 81 Stanford Watson
Edward J. Sullivan

Sullivan contextualizes the work of Stanford Watson within the history of art in Jamaica and the rest of the Caribbean. The rawness and power of Watson´s work is not to be mistaken for 1980´s neo-expressionist tendencies. The work develops a distinctive voice giving form to many of the issues that characterize Jamaican painting and society.
Manuel Alvarez Bravo: Fire Workers, 1935 52 Manuel Alvarez Bravo
Mónica Amor

A critique of the Museum of Modern Art´s lack of theorization concerning Manuel Alvarez Bravo´s retrospective. The author describes the work within surrealist aesthetics yet emphasizes that Bravo´s photographic practice develops a particular visual language in dialogue with the Mexican context. Themes including the negotiation of the »traditional« and the »modern« and the loss of boundaries that his work generates are also explored.
Charles Long and Stereolab. The Amorphous Study Center, 1995 84 The Whitney Biennial
Luis Camnitzer

This review of the Whitney Biennial comments upon the inclusion of artists who maintain only partial residence in the US and the additional culturally representative element. The principle criterion of the show is described as »spectacle«. This »spectacular« presentation mitigated a potential dialogue with the works. The additional lack of information only contributed to the viewer´s superficial satisfaction.
Gabriel Orozco. Common Dream, 1996 90 Spotlight: Gabriel Orozco
José Manuel Springer

Gabriel Orozco´s economy of means is described as achieving a subversive quality. Beginning as a painter, Orozco uses the camera to record life in the streets and his own interventions. The text examines the artist´s various actions and installations and his consistent nonconformity to ethnic expectations.
  92 Art Chicago´97 - Janet Cavallero
Sofa ´97 - Carol Damian
Arte Ba ´97 - Alberto Collazo
  111 Group Shows
Chicago, Tijuana, México D.F., Monterrey, New York, Cali, Buenos Aires, Bogotá.
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121 Reviews

Personal exhibitions in Bogotá, Buenos Aires, Cali, Caracas, Chicago, Fort Lauderdale, Hull, México D.F., Miami, Monterrey, North Dakota, New York, New Mexico, París, San Juan, Santiago de Chile, Santo Domingo, Tijuana and Washington.
146 Books and Catalogues
149 Gallery and Museum Guide


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