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    135 vistas49 páginas

    Ivo Mesquita - Cartografías

    Cargado por

    CineticOuterness
    Introducción

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    © All Rights Reserved
    Descargue como PDF o lea en línea desde Scribd
    Marcar por contenido inapropiado
    de 49
    Awe Coamoygnies (Winnipeg. Wenn peg Ivo Mrsquira CARTOGRAPHIES I. Introduction! A an event ~an action in time and space ~ the Cartogeaphes exhibition has two objectives: first, to present a sample of the produc- Hon of contemporary Latin American art and partic. iate in the current debate about this alleged cate- sory of ar; second, to propose a curatorial method- ‘ology eapable of approaching the production of con- temporary art, critically standing up to institution- alized tradition and preserving the specificity of the plastic discourses. Cartographies intends to examine whether what we have cote to call “Latin American” in the visual ats is capable of describing and interpreting ina holistic and productive man- nner the art produced in the corresponding conti- nent. The project also debates the role of the cura- tor of contemporary art in face of her institutionat- ‘zation as a mark of knowledge and power in the contemporary visual arts cireult Although the exhibition's title suggests maps, it does not refer to the making of maps for crossing the geographical home territories of is artists. Nor does it propose to exhibit maps made by artists, It refers, in fact, to imaginary maps, bused on the rhe onships and circuits that were established so that Cartographies might tale place and that, in many ‘ways, broke with the limits imposed by geopolities and institutionalized relationships, As of 1989, when this project began, my successive travels GMeray Mace wa ina enc i the eth ee 'yetnpupar eke hs avery rat of reais dependent on bara, wie 1 sey A (igonin Joe Masa Exe Sad per ‘eens (es WATERNILON). none the ery gant pasting the ema in a i erg ‘hom fae wh ender a Br aye Natta bigrher Nara Ree Bust Ri air Ws in gation ts a 1923, Line Soa hts opal enprenknisloedcae of mn lan op sth cnn psc plc ne lugetaranadre eae with el ela he inhpoptagous save shape Trad att (since A Neqes, 152) Tse se lees wil ape In sina’ sly aneoptugsi pera wawiack Pr it the I se, atin Aono ear ‘Asan alr hs Pop depttareslonly me a ep opraions ike rg stg a ut wth forks an kn a map for be ek pallial snes fe pcs citar and murder Tera sali tn A eof el carr qth, ii tay. for ng spor hung wih aren li ape of we ths b Ivo Mesquira CARTOGRAPHIES 1. Introduccion? Cc como evento una actin ene tempo y en el espacio — la exposicion Cartographhies persique dos objetivos: primero, presentar na seleccisn de la produceion artisten contemportes “latinonmericana” yparticipar en cf debate actual en torn de esta supuest ctego- ‘a artisttea; segundo, proponer una metodologia. de curadocia capaz de ahordar Is produccidn tlea contemporinea, enfrentando eriticamente la ‘radicton institueionatizada y preservando te cespecficidad de los discursos plasices, Por un lado, el proyecto pretende examinar si lo que eon vencionalmente recibe el nombre de “latinoameri- cano” en las artes visuales es capaz de describie © Incerpretar de una manera integra y productiva el arte producido en el continente correspondiente: por otto, intenta someter a debate el papel del curador de arte contempordneo considerando ss Instisucionalizacion con punto de referencia det conocimiento y poder en el cicuito de las artes visuals en ta aetualidad, A pesar de que el utulo de la exposicion sugiere mapas, no se refiere a la elaboructon de enapas Uiles para cruzar los territorios geogrificos de donde vienen las producciones de los artistas pre sentadas en ella, Tampoco se propone mostist mapas hechos por los artistas, Se reffere, es si mapas imaginarios, dibujados a partir de las cela: cones y eireuitos que se estableciegon para que Cartograpliies se reaizara, los cuales tambien “4 Ivo Mesquera CARTOGRAPHIES I. Introduction? ( lomme événement ~ ane action dans le terps et dans Vespace ~ Pexposition Cartographies poursui dewx object: premiere- iment, préseater une sélection de la production atis- ‘que contemporaine “latino-américaine” et pa Helper au débat actuel autour de cette prétendue categorie artistique; deuxiemement, proposer une réthodologie de conservation capable d'aborder la production artistique contemporaine en affrontant crtiquement a tradition nstieutonalise et en reéservant la specifiive des discours plastiques, Dun coe, le projet pretend examiner si ce quia conventionnellement recu di nom de “latino-ameri- abn” dans ls arts vsuels est capable de decrireet interpreter dune facon Integre et productive art produit sure continent correspondant; dun autre, de debate le role du conservateur dart contempo: ‘rain face son natieutionnatisation pendan quelle place es bornes de ta connaissance etd pouvoir dans le circuit des arts visuels de Pactuaite Quoique lettre de exposition suger des cart lle ne ge refore pas a Pexteuslon de cartes ules pour traverser fe cervitotres geographiques dow vienmene les productions des artistes ut y sont présenies. Elle ne se propose pas, non pls, de imontrer des cartes faites par des artsies le a rp partir des relations € des cireuits qui seiablirent pour que Cartographies se vealisa, lesquels aussi romplrent de plasieurs facons les tomites domes Marte Marie Pérez Brave, No vi con mis propios ojos, 1991 through the Americas; the communications net- works (fax, telephones, mail, couriers); the network of collaborators set up for support and dissemi tion (the Winnipeg Art Gallery, curators, artists, sponsors, collectors, services, ather venues); all the documentation and eepisters compiled during the Journey and the show sei all these describe real and mental trajectories that constitute a territory diferent from that of real physteal space, They are virtuil maps. Together with these imaginary maps, id on the other side, Cartographies also refers to maps of the imaginary, for it sees the artists? ing the duh of lao” BAROQUE The question not to tt ee hows ‘tebatee ae bean source fr Lath Anna cle sind of ute siperiauy, rman aren ley Capen ua ae he poet fe oti (lea Lam, mela ec, Marne Roig, Bene orca) who made te Cuban teers othe bare, of ‘a epltemic into anenuoan sexes ae ot fea fe hissenue, rch natal soul be ae for ‘mat int forall ale Ameen coi, the pe ogi the 1954 eon a Pe Uae History (oy. Jorge ts dorge wrt," would ay hae era hat ste which diese exhausts hat wiser east ponent es om ctvare, Cle Mele "Musics, Hom od Caco deals wit the arog eto, bt wt ne as le approaches the tons he ethic a he suey at argue an tert Ke uetion he oe sno madera bari st oH fhe contemporary ppopiaions The wie of undated mil dite he ster rg of Maes can ech Clonal now areas expan (See OPACITY ad CANA), tential argh the nen BLINDNESS, You ar Mind" (1972 4 he peowsenve esp on a obj y Drain Walt cl Ina f eating with physi von, hear as Is wot the setaanenes of erin, Called ‘teste ef perepion fo he rc touche seulpute, bs Bee's waned reing af Bronnsyo ‘he prelyphenomenaayal gprach 8 188g as oye oid a coer aot Su Solr“ th se cme wath anheiy He he sear fe 1s Guillermo Ketea, Coming Homa, 1990 rompieron de mnuchs manera los limites dos por lt geupolitics y por las reluciones insite romaliadas, Beside 1989, cus se infects este Je erie, fas Hedes de vo, saree eotrnbers entre hs nebert clos on ol peanerta Vinuipes An Gallers trader artistas» patracinadores i pe he oulaboradinnes feslertionstas, Servicios, ple Lscnmvem avi § fos regis elaords en ol rnenales que evmstitayeran ax ceretoniy difeccnte por fa geopolitiqne et yr Fes selations inscoution halisces. A partir de 1989, quand ee projet «von nonce, tes voyages suevessife dea travers les Nmerigaes. es moyeats de comma sion fas telephone, ste cam snersh eens coy engages dans le projet ad Galerie! Ue Whamipey eammsr sens. anaes us fe rose oe lanes kcal hers, sensu pros tion de scenes ee ees Ines gas snmtavbuecrent? mame pow swacenir er divulewer, fox dc rments 61 Jes reg 5 sites Fauve etanaves pean Fe cus, a ments raive diferente Fespace phosique net. Ce sone Works as projections oftheir minds, concretizations of desire ~a drive that is primal and previous to any form. The mind, inthis case, is conceived as a vast prairie, from which the works emerge as landmarks of a territory under constant transformation, The exhibition therefore requires of the visitor the travellers disposition: a being with history and iden Uity, guided by the senses through the territories he traverses and discovers. It proposes that each visitor transform himself into a cartographer and invent his ‘own territory. For, by extension, it also intends to ‘make explicit an attitude towards life: to be a trav- eller means to seek an almost permanent existence tn the present, in constant dleplacement and in the condition of the eternal foreigner, with roots not in nationality but in those territories under the cule of desire, sensibility and knowledge. Afcer all, itis of life we speak when we Ke about art, toh exmitscees as Cava de Anat woul etch fo is rvolationary Manet de esa ata 1020 ean el Dowty Marsh prediction ot en the war Bede th ld of a ok tants the en ofceulure The see wad ald of the ste an patos daria he het wounds fester minethe emote fan spaceae sured nthe bole of de os gentot he carl dsp, [BRANCUSL Constanta anc sh ihe nighinge se & sure of eure Lala America JL. Rog a on menu how the nighegl in he psn La Ura" Arges Eee Eanes bcs bag oF he ror wakes ef eof heen, The his le, rig Argentinian orgy comes fo the ‘reckan Geman dons. eae the gran lack coofience, Aree fe Agetnan, Bones standart of he Lain Ameria longing ob pc ‘of the West ion ely a story wou be ‘euch poorer bout Bits Histo lw the reduction the Ned hs A Noga 1805) br Tara Ama (Se APRICA. fn contempott scl: ture rae nce cae sen i ie work ef erg ‘Conary an Walters Cala wha work phenamerle ay oe presence othe xeiptiethe revelation ofr, he oe of perepton. Tete Qos ae apes sentir he scp ule of Clon German oer [BRASIL Ato once cll Padorrm (ee WOMEN), Not (oe maken wk the nan Bez nthe sea as he soto land a onsnting an enon ofan aound 2 fal f wlan, Camnn vas a wots ht nd (Angeline Daan, 132. sp angel and Gusdelip) Soe atin Areca re re oar the aa of he ose te pre rane f eas rrp bt nea ee he sete nprtanse oi ens mie ede Tian he bree IRASHLDADE See CNNEMAL BAD, HEAD. The Cachan Hens xe heey Ns ea” anes projet of he Coie ‘he pst nk he baroque monume! heiase me ssa sha bots power eh ‘ur sciie af maui ie Cag he New Wr (See RCQUED, Comet fo Chen Gata ra Aaa end nln i ain os hyperesti Ww el espacio lisico real, Son mapas virwales. Por otto lado, junto a esos mapas imaginarios, tam- Dien la exposicion se efiere « mapas del imagle nario, ya que considera que los trabajos de los artistas son proyecctones de sus mentes, conere- clones del deseo — pulsidn primatia y a cualquier forma, La mente, en este e430, es imagi= ‘nada como una vasta pradera de donde los traba- os emergen como demarcactones de un territarto cen constante transformaciéa. De esta manera, la exposicion requlere del vis ante una aetitud de viajero: un ser com historia © ldentidad guiado por los sentidos a través de los territorios que recorte y descubre, Propone que ‘ada vsitante se transforme en un cartdgrafo.e tavente su proplo teritorio, ya que, por exten sion, ella ambien pretende hacer explicta una actitud ante la vida: ser viajero significa buscar tuna existeneia casi permanente en el tiempo pre- sente, en constante desplazamiento y en condi- ion de eterno extranjero, con ralces no en la nacionalidad sino cn aquellos terrtorios bajo el dominio del deseo, de ta sensibilidad y det comocimiento, A final de exentas, es de Ia vida de a que hablamos cuando pensamos en el Ane des cartes virelles, Dun autre cde, jintes a ces «cartes imaginaires,Pexpositin se rapporte aussi aux cartes de Cumaginaire, puisqutelle considere aque les travaus des artistes sont des projections de leurs esprts,coneréisatons du désir~pulsion pri aire et anterieure @ toute forme. Lesprit, dans ce ‘as, est imagin# comme une vaste prairie dot tes ‘travaux émergent comme les démarcations d'un Lerrtoire en transformation constante, De cette manisre Pesposition requlert du vistteur tine attitude de voyageur: un etre avec une histoire ‘ume identi, guide par lessens & travers tes ter ritoires quil parcoure et découvre. Elle propose que chaque visiteurs transforme en un cartographe et invente son propre territoire, pulsque, par exten sion, elle prétend ausst expliciter une attude face 4 la vie: dee voyogeur slgnifie chercher une exis fence quasi-permunente dans le temps présent, en deplacement constant et en condition deternel etranger, avec sesracines ton pas dans la natla calité mais dans ces terrtoires sous ta régence dit desir, de la sensible et deta connaissance. Apres out, Ces de levis qwiom pale quand on pense a bare IL. The curator as a cartographer Topography displays no favourites; North’s near as West. More delicate than the historians’ are the map-makers’ colours, (tllzabeth Bishop, The Map, 1946) I ‘the international scene of the plastic arts the Sgure of the curator of contemporary art resem- bles that of a traveller who, traversing different landscapes, describes routes, points out passages, establishes landmarks, fixes the boundaries of a specific territory that understands the nature of contemporary art, One Is reminded of those travel- ling artists who accompanied the discoverers of new lands, and who bequeathed to posterity images, narrations, and maps that constitute the frst visual identity of recently-discovered areas. Today, the curator accepts the not-existence of boundaries among the issues discussed by art pro: duction, and has transformed herself into a transna- tional eitizen, responsible for a curtography of the dissolution of cultural frontiers, For the curator is, above all else, a drifier passing through studios, at aller and museums, seeking out and investigat ing issues, polemicizing them so as to reveal the marks, the qualities and the systems of configu tion invented in the process of making art. She is a Professional collecting pieces, fragments of new (ce KODAK). Ye bed reps be chee fenced era th aca et (297) ee proag of loser. with ed stg cama pote nape ‘tench bya rnd. a mayed by ener te. Bei, ‘sccputonteiaion ofp, Sle, ble say ace (entice of corpses ey rider ple) wpe NES. Argetnin Mats Mina de an “elk et Sweet Osu” (1979) and he “Tower Bea of mes oye” (QOD, he ate she ed 3.99 beads on mand Downes te bakery enone by ote ‘ume Bence As das cosa by the, lahat her ey, The deonrcive chance sie rom the poles af str (bed ie be eee hc ooneysa"erysiieoe, wich a the same ie * apace with what iene oh ble onetus ee mip Jorge Clube Sil a Argenta, Ver Ga po eat nth he production fhe by bug ack frente tel Ove" 1973, nh the alban Des, who mse the ra and pve 1 the pie. rig areas hese of opovton (aaa nd a "eatin ad urate). Hel forthe at ier eer males nes a cominent of eis, of ple and earenes ‘hors premature mane destin ih Us synal of red. ahs bet pee The eal Fakerat pests CCANDIBALISM. THe digenoas rl patra of can balms provid rain asad wrest ema wth sou fora mer ery ata svongion *Anroptig” ( avbalt)The (928 chi lar cepa testo rb mine Il. El curador como cartégrafo Topography displays no favourites; North's near as West More delicate than the historians’ are che map-malers' colors, (Elizabeth Bishop, The Map, 1956) E: cf elreuto internacional de las artes pldsticas, la figura del earador de arte con temportneo se asemeja ala de un vajero que, recortiendo pateajes diversos, describe rutas, sehala pasalesy esablece demarcactones, deslin- dando asi un terstoro espeificn que comprende ta oaturaeza de arte contempordnco. De esta ‘manent los curadoresrecuerdan a aquellos artls- tas vlajeros que acompafaban a ls descubridotes de las tertas nuevas y que legaton la posted Iinagenes, naractones y mapas que consttuyen ahora ta primera Klentidad visual de as zonas recién descubieta, Hoy en di, los eradores cexperimentan la inenistencia de barreras entre las cucstones de que se ocups la produce artist: cay se har transformade en cuddanos tansna- clonates,responsables de una cartografla deta Aisolucion de ts Frontera culturales, Porque et curador es, ante todo, tn cainante que recorre tellers, galerns de arte y muscos, que buser © tuvestiga euestiones problematlzandolas para, de P ces forina,revelar los easgos, las eualdades y los sistemas de configuraciones que se van inventan- on anvstica, EL do.en el proceso de la er ceurador es un profesional que coleeciona peduzos, Il. Le conservateur comme cartographe ‘Topography displays no favourites; North's near as West. More delicate that the historians’ are the map-makers’ colors. (habeth Bishop, The Map, 1946) D- te circuit mernaional des arts plas tiqus, a figre a conservateur dare contemporain resemble a celle d'un voyageur ai parcourant des pasages varies deert ds routes rmontres des pasiages, cable des horns, deli tame un cerritotre spéeifique qui renferme la ature de Vort contemporain, De cette manitre, les conservaeurs rappelient ces artistes voyageurs qulaecompagratent les découvreurs des terres nouvelles et qu leguérent a la postérité ides images, des narrations et des cartes qut con stituent désormats la premiere idemttévisuele de ces zones nowwellement découvertes. De nos ous. les conservateurs expérimentent next barrigves entre les questions dont saccipe lt prov Auction artisige, et se sont (ransformes en citayens transnationaue, responsables dune cat tograpic de la issotucion des frontieres et tim marcheur qui purcourt des atelier des galeries ar etdes musées, qu recherche et sonde des questions en les preblématisant pour, de cette fag, revler les marques, fs quaites et les systemes de configurations qui se font inventes dans fe processus de la eration artistique. Le con Worlds, parts of private worlds that make up artis: tic production. She points out sensibilities and con- ceptions, organizing groups of disordered signifies and establishing direetions and landmarks for a ‘mapping of contemporary art. Cartography ~ the art and technique of map-making isa method of work with a double function: to travel through and detect the landscape, its features and transformation, and, simultaneously, to present conditions of knowledge and marie ways of passage through - Unlike traditional maps, which delimit areas according to their geopol 1 definitions, cartography is produced along with the territory. ‘That is, ic reports an experience of the gaze that simultaneously discovers and registers, supplying, at the end of the journey, a reading that is Itself the space of the process of comprehending and surpass- ing the territory, Thus, the concept of cartography serves the need fora working method that involves the curator ge ing over the artistic production of the present, pre- serving a sensitive eye to the internal confronta- tions that at sets up for itself ian effort to eonsti- tte @ contemporary visuality, This is why the cura tor does not follow any sort of set provocol or any a rior definition, for his work is born from the ‘observation of transformations ke perceives inthe lovies hte traverses. What he seeks is to place himself in the adjacency of these transformations, a ‘caRTOGRAPIES, Anis Lan Aner hve ud ‘eer than he og. a convenonl awning sy oF hep "De aged eine olleed te po ofsstnnuing he ire ronal edge ihe scaly of dain ietaporo rely were Tarte: (are prctes the verano he C193) eh Invenio reskig the irre ESPE'SMO) ma rue Latin Ares sales The perpen erator’ tpngrphilcouvetons ri Unto. seine developed bythe Gongtet ate a nace. The map An Bela Gig regsecla donin hegemony aed mari. Te pusing a Nim¢Cisenstain a German dance Geach) aa Eng song(The Ba), vetoing the engape deo ny bury Betwees the ress fae languages The tapi no point they cone a crs wei tromeltreto he tani. Theft veel Team knger srg, Kase apes the velo ‘ol hired ya oh space af daub one gus ‘ofa wold lowinly tional end challenge the sarnen ode Other, Tne "never hed dit ovr hanging” the wok of Kun (na Cad, Kats he isthe port to sansa he map ‘he ngs eedton, om the pve poste af he maar the esi acon ate pr. ‘CARNIVAL “Le Comal de Rl x un cachet ot pr ler wrote Edgar Manet is 18. "Lecaraal se pone Funemanler ates dee si sus some ate eee ive for three years om a Caan ys ope mac woul abt hia compe “Ts Carnal in Rei be elon penn a he ee” et Cw de Andean i “Main Pa Tata clo Antal, Cavs and eval Gah nd -ogapir a pat epi, Hela 3 Ir th matisenry cuter f cml he and a fragmentos de mundos nucvost que reine partes de wniversos particulates que conforman la pro: dduceion artistica y apunta hacia sensibilidades y coneepeiones; que organiza conjuntos de signif. ‘eantes desordenados, establecienda diveeclones y rmarcadores para elaborar los mapas del arte cow temporance. La cartografia~ arte y teniea de hacer mapas — es ‘un métoda de trabajo con una doble funcion: recorter y detectar el paisae, sus accidentes, sus transformaciones y, al mismo tlempo, presentar las condiciones necesarias para su conocimiento y sonalar vias de acceso através de él. Al contrario de lo que sucede con los mapas tradicionales, los cuales delimitan las freas tal y como fueron dfinidas por la geopolitica, la curtografia se c00- struye al mismo tlempo que el terrtorlo, Es declt, «lla relat, describe una experiencia dela mirada ue descubre y registra simultaneamente, propor clonando, al final del viaje, una leeuea que es, en sf, el espacio de comprension y superacién del De esta snatera el concepto de cartografi es ‘coma método de trabajo que fundamenta un pro cedimiento de ta mirada del curador sobre i pro- duceion artistica del presente, pues mantiene un ojo sensible «tos enfrentamsientosinternos que el acte se plantea a si mitsmo, en el esfuerzo por con sttutese como visualidad contemporines. Por esta razon, el curadorfeartografo no sigue ninguna especie de protocole normallzado 0 cualquier a priori su oflela nace de la observacion de las servateur est un professionnel qu colfetionne tes morceau, les fragments de mondes nou- eau; qu reunt les partes dunivers parte~ ters que forment a production artistique et ivige vers les sensible les conceptions: qu organise des ensembles de signifiants désordon: nes en etablissane des directions ec des polnts de repere pour élaborer les cartes de Vartcontern- porain. La cartographle~ ar et technique de fare des ‘cartes ~ est une méthode de travail & double {onction: parcourir et détecter le paysage, ses accidents, ses transformations et, en méme temps, présentr les conditions nécessires asa connatssance et signaler les voles acces & travers celucc. Au contratre de ce qu arrive ‘avec les cartes raltionnelles,lesquelies deli luent tes ares tlle queles ont été definies par ta geopottique, la eartographie se construit en ‘meme temps que le terrtoire. Cest-ire, ele relat, décrt wie experience du regard qul decowvre et enregistre simultanciment,rappor= tant Ta find voyage, une leecure ql est elte= seme Pespace de comprehension ot de sur passemont da trrtoie De cette mantre, fe concept de cartographic est hulle comme methode de travail qui cable une procedure du regard da conservateur sur ta production artistique du présent, en gardant un ceil sensible au confrontations Internes que rar place pour lememe dans Feffort de se consttuer comme visualité contemporaine. Pour onsale Dir, Yo soy ol sendora, bésame mucho, detsl/detlle/tail, 199% position that will allow him to participate in the dynamic nature ofthe production of lmowledge. From a postmodern perspective, I therefore aban- dion the search for truth that has characterized the traditional exercise of thinking in the Western world, In order to launch into the search for sys- tems of perceptions and different forms of inteligi- bility for drawing other maps and revealing other worlds. The produetion of cartographies Is diffe from the production of truth because each gaze invents its own meaning and indicates a possibi of understanding the lerritory, But no final origi ‘or destination is arrived at, The possibilities of ‘pression and representation are unlimited: lan guage is always being ereaced, marking new posi ions, opening new territories. ‘sey and communion tesroogy have pose ‘mes tel lenges acento lo de Jac he spect eed. Cansei ew hi al tas reared the naan who fines the po rnd nd desig he cauciesn Oats a concepa ‘cENsonste, Se deve forces ct baler, COLCNIALISM, SROTICISM, TORTURE and {CUANGE. “Choe the sem anton of esenee™ CLE. te weoltonty Che Guero (1938-1967 vase wed cua pf acl ogee TOPE ‘Che Gacrareeognled despa of ear nd pens theo vlad austin eel Changes peopl: ina New Man was necesry for he new clr soda ana amc or Guevara theese of cull change voted tesa of he spsy satu sal erode exiting vile cu ‘sons andthe onto erin a aw ways topos, tok do fe Labow, no anger bg normed, soul become at ar gue, sy Ene eres As he ure of Che Guevera prea fret wor Cabos Rau Manne nd say Clas Toe 1nd Antonla Manu Guevara was recs by mst th so oe sig phrase: Hay ul emlceece, peta sn ever Tebck andes aa stutton of cv ch gona redcing Che Grate sl eonograpive age og ps, o Detter the es energy “GE VARALUEA (Guevara swhichlaw caps ec ob how sor ply kn pee superstar wal div, The es sho hese 23 ai] transformaciones que perelbe en el termtorio que recorre, Lo que él busea ess fdades de estas transformaciones, positon que le permite pereibir el eardcter dinamico del proceso de produccidn de conocimiento. Bajo a perspecti- va de la posmodernidad, este curador shandona, por fo tanto, la busqueda de Ia verdad, rasgo que hha caracterizado el ejercicio tradicional del pen- samiento en oceidente, para lanzarse en la proc ra de sistemas de percepcton, de diversas formas de inteligibilidad, élbujando otros mapas y reve- lando otros mundas. La produceton de ear: togral porque cada mirado inventa su significaclon € 15 es diferente de la producelon de verdad lndica una posibitidad de comprension del terrto- ro, Sin embargo, nose llega aun final, a un ori ‘geno fin, Las posibilidades de expresign y de rep- resentacén son fllinitadas: siempre se est crean- do lenguaje, marcando nuevas posictones, abrlen- do nuevos teertortos. 1a prietica del eurador/artografo estévincalada, fundamentalmente, las estrategias de produc- clon de arte y ast insercion en el campo social 54 objetivo es narvar las batallas ew la bitsqueda dle materia expresivas, de composictones de lenguajes, de constitueton de configuractones. » permitirles la existencia proporcionAndoles visi bitidad, Al igual que el eartograo, el curador no snide sino evalia, Su trabajo no eevela sent (significacion) sino que lo crea (significante), porque procuca captar el estado de las cosas, st lima, com ol fin de trazar Ins estrategias aristicas ‘que va encontrado, En st ejescicio, qulere parle: » cette ratson, le conservateureartographe ne suit aucune espece de protacole normalisé ou quel congue a prort 30% meter nat de Fobservation des transformations quil pergott dans le cerrt- toire quit parcourt Ce qull recherche eest de se situer dans la proximité de es transforma tions, posiion qui ul permet de percevoir te caractére dynamique du processus de production dle connaissance. Sous la perspective dela post- rmodernite, ce conservateur abandonne, pour- tant, la recherche de systemes de perception, de cliverses formes intelligible en dessinant dtaueres cartes et en révelant dauares mondes. La production de cartograghtes est different de la production de vite, car chaque regard Anvente sa signification et indique une possibilce de comprehension du territoire. Neanmoins on arrive pas @ une issue, a une origin ou a une {fin Les possibilites expresslon et de représen- {ation sone imide: on est toujours en tran de créer un langage, de marquer de nouvelles posi- tions, dowsrir de nouveau terrvoires. 4s prague du conservaceur/cartograpke 36 rapport, fondamentalement, aus stratgles de 4a production dar et som insertion das te tomaine social, Son but est de raconter les brates dans ta recherche de matieres expres sives, de compositions de langages, de constitu tions, de configurations et de leur permetire Atexister en leur pourvoyant fa visibilte, A Legal du cartographe, te conservateur ne mesure ats mais evalue. Som travatl ne évele pas de The curator/eartographers practice fandamentally concerns the strategies ofthe production of art and {ts Insertion into the social field. Its objective isthe narration of battles ~ for matters of expression, for compositions of language, for the constitution of configurations — allowing their existence by afford- Ang them visibility. Like the cartographer, she does not measure, she evaluates. Rather than revealing significance, her work creates signifiers, For she seeks to capture the state of things, ther climate, in order to map the artistic strategies that she meets In her exercise, she seeks to be part of the constitu: tion of an amalgam of traveller and territory, shar- ing the invention of a specific reality known as Art, ‘Obviously, cartography as a method of work per- ‘mits an approach to any cultural phenomenon, whether social or individual, by allowing a reading based on the interpretations that make up reality Any theory is always a eartogeaphy, for it describes 4 unique experience and delimits a territory whose ‘knowledge is oriented by this experience. As bor- towed from a methodological concept proposed by Brazilian psychoanalyst Suely Rolnik ina study of the production of desire in the age of industetal eul- ture, cartogeaphy’s transference to the fleld of vist. al arts does not 0 uur in such a way as to counter: sign the tradition represented by art history and criticism, On the contrary, as it intends to be « Position of investigation of artistic production that othe andi way, ef free, calana Aun the gous are epecally ees and eaten iodace nonce ich dopo Bh Sav) a pages Mi Ge ines) tee 201 ery, Cagraed ogmied a eae seo rane fhe Chines vertical perspective, Carey ‘Asuna Vt ces he pumigs the vee or ito of al pas other wih be recog cea tary Ci psi en {Gof Aienr-Cineze rg hs pra ws the strc thomas ae werk The strong sortable ‘Chins migration te the ration Pe, ed boca te ro pap (1913) th coaey -Al-Chies bran ppl shee etary aces wee wo enced, CEMCULARITY. See TINE an, or ul goa see Couriveserausu, ‘CLASSICISM, fo ei the atte of ness sven he fangle ough the ands he aun ah ‘ect mont Gaeepe Land who ard Belen he Anas, 1750 Te Aeadeny of Ren sea neki wach desig aca ‘Grane Se Mortgny. Tele mology ca he foucdin tee nthe psinungs ts In Chile min sculptor Vigna Ara. Te contmpray sppench the se a of Aen Marta Mn sel witha wo-way movement dacans un lane (Che) ara eens curing publ syle Dalian ole de Frnt hr shes sta oes the elise aan of sculpt, erg pte ‘ceo io Fala Versa, mower an ane nceo¢ wth the rata carr Yh: mals ‘ye econ eth athe The conn ser {meth feng ncn subvert nt ay and ress ke the “Vera season of Ament ea su def dernes heen La US sere Whol, Cea Cola wea as Marie Crave Neto, vionge vendao, 1989 is itself the means of understanding this production, {t constitutes itself on a collision course with the pro- du mn process and institutionalization of knowl edge, promoting access to transformations of the ter- ritory and signalling the possibility of constant tran- sition to -w readings and investigations. ‘The curator/eartographer's work becomes a sort of travel diary where discovered landscapes and tra- versed paths are registered, In this fashion, in an exhibition ~ the final objective of the eurator’s expe- dition ~ the creative practices, the systems of percep- tion, the elements that conquered a territory in order to exercise themselves, and the directions of their intelli lity, all these are identified. The exibition offers itselfas an explanation, for what signifies therein shall always be the works of art that rever- berate in the silence of the galleries. There is no thought that develops betore the show: on the con- teary, i can only oceur simultaneously with it, dur ing every instant in which itis visited and looked at. ‘he mein ies eseuy, Lain Amara es ‘wedi ea paiva aymbol finger, ek 1870, Clo Mee pried Coon Cla ben ihe the ncamulaon of net hots by eben ie fo {Coa Galand Ana el Geiger sted the bate the lowepe wi ah. WA wer they were er ily with the symbol enantio a 9 nnkoysiy fe al, Cats Coa commesioned wort, lung are om these ol sven what ‘Another dle af Coes Ct wal mila ns, ‘he agua Ll Cana is heb th hia feasted lat Aoi Cowes he me his covey (Clam ine dan cali ‘ly of Coe Colne ts ina red el. He bea tbe ea of CeaColomhi, pment he eof ase tnd ses coaiyaes Cala malo hiswry of Utd Ssnesinervertion hs cy. sch at he eee ep the Cl See COCAINE) COCAINE. Ane ws cyl tao poder hus from the eaves a Erythoapan coe Natives ttm ar sd ls dom the sas ees (Coste, bul by te mice membrane, Addict ey een in tts essed deh The rei busin eo br ats fhe papain wc se saul eens ca ‘par de ta constitucion de wna amalgama del viae Jer0 con el tettitorio, compattiende la lnvencisn, de una realidad especitica, el Arte Es evidente que Ia cartografla, como método de bajo, permite el abordaje de cualquier fende ‘meno cultural, ya sea social o individual, por el Ihecho de hacer posible una lecturn a parti dela plaralidad de iterpretaciones de que se com- one la realidad. AdemAs, cualquier teoriasiem- re es una cactografi, ya que describe una expe lencia uniea y deli tn terrtorto cay ‘conocimlento se ortenta por esta experiencia, Tomada en préstamo de un concepto metodologé 0 proputesto por la psteounslista brasilena Suely Rotnik? en el estudio de la produccidn del deseo en Ia era de la cultura industla, su transferencia para el campo de las artes visuates no se da para ‘eltendac la tradicidn representada por la historia ¥ por Ia critica de arte como disciplinas que estt- dian la visualidad contemporénea, Al conteario, yA que pretende ser una postura de investigncton y Tectura de la producetdn artistica que es, ella snisa, el medio de comprensign de esta produc: ion, se constitnye en na estrategia de embate a los procesos de produecisin ¢instituctonaliacion lel conocimiento, promoviendo el neceso a las ‘wansformaciones en ef terrtoro ¢ indieando las Dosibiidades de transicibn constanie hacia nevas lecturas e lnvestigaclones, Fl texbajo del eurador/eartograto resulta, ast, una especie de diario de viaje en donde quedan 28 sens (signification) mais ls ere (signifiant), cay i! cherche a capter Pat des choses, leur climat, afin de Jalre de ta cartographie avec les strategies artistiques ‘quit rencontre. Dans son exercise it veut partciper @ {ta constitution dun amalgame du voyageur avec le territotre, en partageant Pinvention dune realité spe eifique, Pare Hest evident que lacartographie en tant que meth ‘ode de travail permet daborder nimporte quet phenoméne culturel, ql soit socal ou individu, ar le fit de rendre possible une lecture a partir de 4a pluratte dnterprétations dont se compose la véal- ut, De plus, wimpone quelle eheorie est toujours une pendia of Western art history, this production seeks more to answer the demands of political and. social emergencies than to debate issues intrinsic to the production of language and knowledge. Ieis not that these productions do not exist ar are not constituent of a certain “Latin America.” They exist and are part of the artiste activity in the con- Linent, Inthe meantime, as « group representative of artistic production in Latin America, they «an only fail in their intent to demaceat a territory for the Latin American, for they affirm the existence today of an autochthonous culture, ofan identity that expresses the authenticity of pure and revolu- tionary culture, They incorporate the discourse of the other about “ts und ereate systems of repre- sentation that are rapidly crystallized in icons of ‘Death inte contin i aw beyond he bro gs tn gence ceeds Parag (180) 0 ‘land thin alan ami seat he ping fe agua Jn Manel Blan, hee orl hone Rese the Malas War, Argenta Galere ic depeche taal pate ima recollections ofthe tres exptemton 0 gf che an! ogg ofthe tna conoid by he abuso the cer Sate Dah the aot sraa ul ain An (rove String Worker Merdced (1994). The bey is Del Se RESISTANCE. The tenth of ve ‘nh yh pliant te ciling ond pow sf ris wings My Dying Wotter L947) by uean Fai ce Carrier drt thar athe dein The Deh of Bich (198) ete of tora compariy Kollel ith nce, the eth coed Cali be sre ig whee el we tema agony mh at gsr, fe I vide The Death Ma C793, according to ‘Ang, dls wth he psp fe nae a tng 9 DEPARTMENT OF STATE, The Unie Se eset og or frsg alas. Ascobing Ary ‘Aran wa at by hance he abr xpi ‘aa ml eprom alte the ed Wark WY ‘rg ptt the at ol he Cd War, hip eal eaten trols marion oun nein pes [iweb very ater once ont lg wng eras. a {CURSTALGTIEISY she opt Benoa hate tl seat oe mai, 37 ‘con metamorfosis,alegorias o representaciones de ‘arieter onttico, metaforieas, mis 9 menos logradas como figuractones usionisticas de fo ‘eal, Esta produceién opern con wna ditcion del Surrealismo, aunque es reconocida regional © intermactonatmente como *Realismo Migico” o “Arte Fantistico,” y eren imagenes que refuerzan 4a vision mitica del continente como la tierra del bbuen salvaje, de EI Dorado perdido para siempre por la evilizactons, 2) por otro lado, su produccion artistca se ‘econoce como espacto de miltancla politica que crea un arte comprometido, al servicio de la edu- cacion y de Ia conseientizactén de las masas, y aque consttuye un medio para la transformacién de Ia sociedad. Vinculada a la tradicion fundada por el Muralisme Mexicano, dnico movimento anistico latinoamericano reconoctdo por fos com- Denilios de historia del arte occidental, esta pro- duccign procura atender mus alas demandas de las emergencias politicas y sociales que al debate de las cuestlones intrinsecas ala produccion de lenguaje y conocimient. Nose te de pensar que estas produceiones no existan 0 no sean consticutivas de un cierto “Tatie hnoamerieano”, Existen y configuran parte de ba actividad artstiea del continente, Sin embargo, ‘com conjunte representativo de la produccion rustica en Latinoumérica, se equivocan en st 1 de delimitae un cerrtorio paca lo lati anoamericano, pues al ya In existencia hoy en dia de una cultura auréetona, de contenidos de 38 réussies comme figurations ustonstes durée Cette produetion optre comme unc dilution dt surrealism, mats ele est reconnue dans des regions diverses (en fate, Internationalement) comme *leréalisme magique” ou “art fantas- tique,” et erée des tnages qui renforcent ta vision iythique du continent comme terre du bon sauvage, de PEldorado perdu a jamats par ka ilisations 2) Dun autre cov, sa production artistique est reconnue comme unespace de militantisme ple tique, eréant um art ngage au service de Meduca- tion et ausst pour les fins de faire prendre con- sclence aux gens et de transformer la soclete. Se arta ta tradition fonlé par le muratisme mex teatn, unique mouvement artistique tatino-améri cain reconnu par es précis histoire de Vart ‘ccldental, cette production cherche a repondre plus aux demandes des urgences politiques et sociales qu'au debat sur les questions inten. ques le production du kangage et dela con- ne agit pas de penser que ees productions existent pas ou qa’les te soiene constitives Fa certain “latino-amértcain”, Elles existent et fisurent conume parte de Vuetivicéavtseque da continent, Cepenuant,en tant qu'ensemble representati de la proction artistique en ‘Amerique lating, elles se erompent dans eur ten tative de delimiter un territoire pour te fain american, pulsgu’eles afirment Pesstence de ros Jours dune culture autochtone, de contenus terete memmranateecnaeitttattan « identity, emptied by the violent dynamies of reality in which they are inscribed: an intermediate tettito ny between the cultures of the pre-Columbian past and the unrealized Utopia proposed by the despo- tism of the colonizers: Latin America may perhaps be this space “in the middle," «territory without fixed margins where plurality Isat once hope and failuce, opportunity and difficulty, utopia and catastro- phe... We are the space of the crossing cul- tures, the meeting of travellers, of prophecies and chimera... Restless figure, simultaneously ancient and youthful, it seems to reghment all the epochs in order to dream of a Latin American identity, a species of archetype which would unite all inhabitants south of the Rio Grande, However, in breaking the mirtor, we are confronted by the fact that our reality has always been constituted among fragments, look ing almost in the same act, inwards and outside and discovering the labyrinthine and babelish nature of our identity? ina more recent past, under the aegis of postmod- ccrnism and the ideology of the politically correct, « series of artistic productions collaborated in the conquest of important spaces for crucial issues: minority identities ~ political, ethnic, sexual; the covironment ~ both natural and social; social and cultural relations; miscegenation, multiculturalism, DIFFERENCE, “eet eave wares dn" sys the Peruvian writer Aber Hil," am ng 0 dst pence is epagna ioe Th something fase, opal mend (.) eds dare nt ee ounmes (The aya that an be lng bere Argeninan onda Glob sincera ha a te Span desceaans hs thes, The onary ave imposed the om but ot espe The pont nine herd the phase be with whieh the easing was pradeed(-) The mig on asl, Germany ee tengo ace eh futiodpendecs Win Comyn dere Amerezn chien of Rusia ce hide ef punish (9° (1920. Lan Amen een at dace: tan the isan neta ilerence Coane, gon, ge, vidas) ad an enteral dlerece ain Armen eats forche Went asa seve af dference—evoi and a sme senate, Yet Latin Ane aes no Promo ier saying eevee Seg “an Aseria Lan Ameren” at af Lain Ameria he eli Cain Arerentsies which Wa 2 roped by rin Oley and Valen frase i citheraEaropean “an LOGICAL PATROLLING), Hower, Lun Ameren tt, does nat el thi Earopen mon of sary of he md nolorger he maders Boreas man rs thong med o Gla Vain) The searh fea gle atin ameter san eo eed nhrpghl es Inns td alo othe obrenes feline ‘lial an clas ont, ronng the vary of hr sc nese TIME) ad elt pespiven Se EVE Tuso> DISORDER. Th sovce of diate oe cul eum a lore the gt wets generar Flv de Citi ds sexe wh perc) wearing ta ie swat ic fa su (1958 he proved x sere brou de the Manca of Mauer Haugen Cie Coal (1867) esp 2 va pute pigment brome eae fr Ve eh 30 ‘dentidad que expresen Ia astenticidad de una ‘cultura pura y revolucionsaria, Incorporan el dis: ‘curso de otra sobs ‘nosotres” y exean sistemas de cepresentacion que rdpidamence se eristalizan fen onos de identidad vaclados por la dinsmica violent de ta realidad en que se inseriben: un ter- sltorio intermediarioe re las culturas del pasado precolombino y la utopia irreallzada propuesta por la prepotencia de los conguistadores. Latinoamérica quiza sea ese espacio del “medio”, territorio sin margenes fijos en donde la plural dad es, al mismo tiempo, esperanza yfrncaso, ‘oporsunidad y dificult, utopta y etastrofe. Somos el espacio del cruzamlenta de catturas, del encuentro de viajeros, de profecias y de quimeras Inquieta figura, que es anciana y joven al mismo tiempo, parece reclitar todas las epocas pata poder sofar una identidad latinoarericana, una ‘specie de arquetipo que uniia todos Tos habi- tantes al sur del Rlo Grande. Sin embargo, a romperse el espejo, encontramos que muestra real- ‘dad siempre se constituyé entre los fragmentos, ‘miramdo, cast en el misimo acto, pats dentro y para afuera y descubrlend el caracter tabertntleo y bablico de nuestra identidad."* En un pasado mais reelence, bajo Is egida de lo postmoderno y de la idcologia de lo politicamente ina serie de produeciones artisticas colaboraran intensamente en la conquista de res como la espuctos importantes para cust Identidad de tas minortas ~ politieas, etnieas, sex uaates ~, ef medio ambiente = navaral y social - tas 40 ume identive qut expriment Pauthentcte dune culture pure et revolutonnaire, Files incorporent te discours de autre sur “nous” etcréent des systemes de représentations aut rapidement se cristallisent en tenes didentie vides par a dynamique violent deta réalite dans laquelle ‘les sinscriven: un teritoireintermetaire centre les cultures du aassé précolombien et {Taxope irealisee preposee par la toute-pus sance des conquérants, “L’Amérique Latine peut etre est cet espace du'millew,cerritore sans rmarges fixes ot la pluralité est, en meme temps, spérance et tchee, opportanté et difiulie, opie et catastrophe, (.) Nous sommes Nespace du carrefour des cultures, de ta rencontre des voyageurs, des prophites et des chimeres...) Figure ingutéte,qul ext ancienne et jeune on ‘meme temps, elle semble enrégimenter toutes les époques pour pouvolr prononcer une idenite latino-américaine, une sorte archetype qui wnt. rat cous tes habitants au sud da Rio Grande. Cependa sl on brisece miroir, on remarque que notre relive toujours se consttua part tes Sragments,regaridant, presaue meme emp cendedans et en dehors et decorsrant le sarae tere de tabyrinthe et de bab de nut identite.” ‘Dns un passe plus recone, sous Pegi da post- moder et de Pideolegie du poltquement cor rect ne série de productions artstques col laborerent intensewent a la conqucte despaces importants pour des questions telles que Pid até des minortes politiques, ethniques, sex or ataeecomnanpenesiieny ‘ { 0x8 Bedi, Tho Litle Revenge from the Periphery, nodal, 1993 and so forth. In this way, new categories have emerged in the cultural debate proport ng the specificity of new productions: the work of femie nists, gays, lesbians, greens, Afriean-Americans, Natives, Hispanics, Chicanos, ete, The ew cate, gories, however, eventually ereate ghettos where these productions should exist. In their wake, the concept of “Latin American art” was repotentialized and won greater validity, without engendering sig: nificant change in the understanding of the artistie productions and the countries on the continent There was no productive and critical displacemes 1 forsnoter band (See BANDITS Compr Tung ties ra mel a, Hl kn pots “ome she Krai rade" desig wih amp neon”. gy play “betwen th land de ithe devupmien of he ain ihe nconscs ina a rho” ator eid a Catherine Dd ie ope oot of ata Ameri sine tee rape and de ofthe Congest The Bara Aeon dsamieted beeing sare sanyo ‘heoug a agony of row ene sllerng From carly elena he we sgn hath agi ace seme cl by the Native, sch ashe Aden ulna alles. on ay ation of Lace, Aer a mu Yhiscomiy wes reduced fro 80006 19.00, of ich nly 1.00 erate, of hoe 2100 were ee thn 29 yeas zeercng to Chana) (Se WAR, ‘The Umguaen an Maal re pinta La Prague (tei) pra of the dened in tty, who rain dy ana enery tomo te fre ie HISTOR. The ooo of Fil Kable ermine a synbokuueogaphy th ame jy fr Me, nach minus The To Pid 1930; bakers in Sel Ponta of Cropped Ha 1540), Hoty ord Hopital (32) ane mca Sl pote se en 1087, eteaing ination and den (Se MARI) My Bure 932) she enthoner pairing ef Mater Dan 1 1970 train Cio Mele provceavel sd he xl lyse ao ing eg cokes) ave ‘se tthe ent poe prbomee weer wea (Gee TORTURD, DOUBTS. “nat ter clemency th work he db far eta pt Ne Arahat Or TAUSAT ee a PERVERSION DP HISTORY Fang's a” relaciones sociales y eulturales, el mestizaj, el rulticultaralismo, ete. Deesta manera, cemergicton en el debate cultsral nuevas cate sorlas que pretenden explicar la espesifiidad de estas produeciones:Feministas, gays, lesbianas, greens, Afticar-Amevican, Native, Hispanic, Chicano, ete. Sin embargo, estas nuevas cate- sortas acabaron por rear especies de guetos en donde estas producciones deberiaa existir Al ampaco de ellas el concepto de “arte latinoameri= ‘cano" se repotencializ6 y gané un espacio mayor de vigencia, pero sin que esta situacion acarreara un cambio significativo en la comprenston de las producciones aristicasy de los patses en el conti- nente, No hubo un desplazamni 0 productive y critica de los conceptos sobre tl hasta entonces Vigenies®, Al contraio, se proceso se mostrd raucho més relterativo de lo ya instituctonalizado {ue promotor del surgimiento de nuevos focos de diferencias, de précticas singulaves que pudieran poner en tension las relactones entre la produe- ion aristcay los eireuitos en que ella se inscribe Pensar el Arce en America signfiea proponer tina confromtcton de ta estrateglas de produccion aristica con las politicas de las instituciones ct torales, ts plstica“Latinoamericana’ es uns ge ri cuyas condiciones de el grado de artleulacion de las instituciones que produecn su necesidad, La anes manera de define una posiels ‘que abargue Tas pecs dudes de ta plistica es fortalecer las ticticas 2 ucts, Venvironnement ~nacurel et socal ~ tes relations soctales et eulturlles, le metissage, le mul lealturatisme, et... De ceite mantere, emergerent dans le debat culture, de nouvelles categories aui retendent expliquer la spéifcte de ces produe Lions: femintses, gas, lesbiennes, vers, afroamert tif hispanique, Chicano, ete. Neanmoins ces nouvelles catégories fninent par eréer des sortes de ‘ghettos ow ces productions devratent exister: Dans lews refuges, e concept de “Vart latino-amerteatn”™ a retrouve son potentil eta gagné wn espace plus ‘grand de vigueur, mais sans que cette situation ‘entraine un changement signficaif dams la com- réhension des productions artistiques et des pays du continent, ILn'y a pas eu un déplacement produc: Lf et evtique des concepts en vigueur jusqu'alors sur celul-c Au contratre, ce processus s'est avéré bien pilus répeti de cetut dja insttutionnalisé et elle a ene un peu lesurglssement de nouveau foyers de differences, de pratiques siaguleres qui pourratent retire en tension les relations entre ta production ct les circuits dans lesquels elle insert.” Refléchir a PArt em Amerique-tauine signifie propos cer une confrontation de strategies de production datisuique avee les politiques des institutions eul- trelles, La plastique “laino-americaine” est we {igure don es eandions de manifestation depen den du degre darteutation des insttavions aut pro: disent sa nécessté, Lat seule facon de definir une position qui puisse embrasser les singularites de cette plastique est de fortfier les tactques ist Gonnelles ransversales entre les organizations mu eae of eraditional concepts. On the contrary, this pro- cess has proven surprisingly eiterative ofthe aleeady institutionalized, and has to some extent blocked the emergence of other signs of differences, of singular practices which might stress in a poste tive way the relations between art production and the circuits in which it is inscribed? To consider ar in Latin America is to propose a confrontation between the strategies of artistic prox duction and the policies of cultural institutions “Latin American” plasticity isa definition whose conditions for manifestation currently depend on the degree of articulation of those institutions whose needs it produces. The only way to define a Position that would account for the pecullaities of this plasticity isto strengthen transverse institue tional tactics among the many organizations that are at work on the dissolution of the new forms of “modern primitivism."!9 Tf the Western world has sought this artistie production ~ and this is no place to discuss its interest in such action it is up to us, Latin Americans, to make ourselves visible according to the pluralistic qualities of our culture. the native past, Catholic and synchretized rei sions, Latin languages, and ethiie mixtures are a ‘common background, artistic prictices point ‘owards the territory of difference, of singularity ‘The fact that we live on the periphery obliges us to ‘cosmopolitanization as the sole means of escape true of the an ind “in yng he ‘ergot eo and erro nonstate ‘ae’ the ar ders ee DISORDER) ee’ oe Marel Duchamp io Wala Louse Arenhiran Novembar 8,198. “hate bike ett Pace wih pete beat x). have begun tpt ‘one it ie ofthe las.) Lain aria a be ‘ned within the impact of Wester ula or Nee uch Ye noes inane esd on gemoe 2 es cous he Mea petertion af eo. under Dacha tlre, woul proce ong ia, 2 ong level of prblens anes: Coleone Dori ad ean Sled, Mai Fernanda Cus acon Warr Coden, Ti Ege de Ses, irs, lec Cais, Geta Laas, a tere, Waleska Sie AtgotnianHabeto Ea Chane Gone Di, Saget Dubor, te ely wera of Vereusen es abel So the idan of the ready-made ws developed he eeons, Halo Osa produced asec of “Topoleist Ready-Made Lnscapes" (1970, Cate Js stor Meld deal with the tex Tomes che conen ofa eneymade-ead and mainte wo of Dir. scoring othe formultion of en Lancs Che Mees Aecneshis emir or Ouchanp's "3 Soppagee aon 10131, Melle wocke the neces im isolation “Fontes peeenod x Dassen Renal (O02), Clo Meeks ha dele the pest 2eproach 9 hi: Dacha contin ae ae ‘ent oct he perception ar oth peeep a rc oyea baa phenomeaon a ht” LNERGY Spe vil ply! pomeriea thee af The worker any aris Th psa eneey of a Ameren ath lesa the inti of ‘aeon Plaik, Angentinie Le on of Che Cas CCL Yr serpent rien af hae ey in Gu Konge’s dross stes. Te ns tate ofthe experimen tins si site tracts, ili by hep yea fore eae moved ye een sor f espe “The ew dean ia ony ol teres of man et an Tet ns neal, th asm (1990, the es wah he ey he ay nstitclonales transversaes entre las milltiples entidades que estin tribajando en ta disolucion de las nuevas formas de “primitivismo moderno", Si el mundo occidental ha buscado esa producetén artistica ~ no nos interesa aqui discute Tos ropasitos q Dersigue con esta accion ~ nos toca a ‘nosotros, latinoamericanos, el esfuerzo para hacer- ‘nos visibles por medio de las caractertsticas de plu ‘alidad de nuestra cultura. St el pasado nativo, la teligion catsica y/o sineretizada, las Lenguas lati has, la mezela enix son wn “background” comin, las prictieasartstieas apuntan hacia ef terrtorio de la diferencia, dela singularidad. Et hecho de vivir en la periferia nos obliga al cosmopolitis¢no como lanico medio para eseapar de Is asfisia(mpuesta por {a geopolitica y evitar ast el confinamlento de nue- stro desco. Sin un lugar Nijo~ yes esto lo que nos hace interesantes ~ residimos en la mov lad y vive mos en un constante estado de redefinicién en donde la cue mn de la Identhdad cultural esta per- Petuamente abierta, “En medio de tas fracturasy las decadenctas, perplejos ance nuestra historia y nue stro presente, desprovistos de wna identidad auto- sutlciente, los latinosmericanos, espectalinente sus ales, nos encontramos ante Has chance inedica: pensar nuestra epoca deste lo ecuménico, haciendo trizas los provincalismos cul- rales, eecuperando of leguda de ua oceidente usteado y cosmopolita, pero attincherados, eso si fom fos suberes que emanan de auestios proptos fal dos, de must ‘eseaptica sospecha de aquellos sucfios que nos prometieron la wopla americana” “4 tiptes ql travaitenc ta dissolution des nouvelles formes duc “primitivisme moderne." Site monde oceldental a cherche cette prod tion artistique ~ et ime nous Interese pas it de discuter tes intentions aut sont poursuives dans cette action ~ it appar- tent & nous, les Latto-Américains, de faire Vefort pour nous rendre vitbles apres les earacteris- tiques dela pluratte de notre culture, Site passe nati a religion cartolique etfou syncrtise, tes langues latines, fe mélange etinique sont un “care de vie" commun, les pratiques atistiques indiquent la voie vers le ceritire de ta difference, de lasin- sularite. Le fit de vivre en periphérie nous oblige «au cosmopolitisme comme seul moyen pour échap- era Casphyxie imposee par la geopoleique et vier ainsi Usolement qut frastre nos desir. Sans tum endrole fixe ~ et cest cela qul nous rend interes sants~ nous habiions dans la mobile et vivons dans un état constan de redefinition outa question identi cuturelte st perpetuettement ouverte “Parmi les fractures et les décadences, perplexes ‘ace a notre histolve et notre présent, dé:pourvus 7 ne ilentivé autosufisante, tes Latino ‘Americatns, surtout les artistes et les tntetlectuet, se erouvent faced wne occasion incite: de consi ‘en pleces ls provinetasoesculturels, de recaps er le legs d'un accident lustre et cosmopalite, mats retranche, fermemem dans les connaissances gui ‘manent dle nos propres erreurs, de notre seep else dontens de ces roves que nous pramie Putopte amerieaine.*! 4016 Leonilson, O que vocb quiser, o que voc8 dessicr, ev ‘ster aqui, pronta para servile, 1991 yes hick, Chk and Pape (See BODY aod ERO {is The sation of Jost Bola ariel et mye thet wrt har tut dle “hey shoal bese a ey ee they a Lhe sctonthiyng nestin of te posters he om acre potency, bak dbase ssc Onl Shes, Aas Cabana ero roy eeesute yy conogrephie, dsr sta se eerie psfrmarct fA Cab ie work ‘the dso fw of ple eexy. Angesnian Vitor ‘Gp ae th nel fe deepen a ate ak Ing cay Sana fps fal See FSCHATOLD. GY. The pom, big subnet a pulser. generses lear eer (0.7 ols ch ed ey ght a sro, ‘Tee wore ea yal of ans pote to produce a seieunes, Por Lats Askin aa ts the ptt ‘finaly fm he camnet the wrk sages ne seh ‘fan ciecthonoue clr, surly the ergy of Dest the Academy 17-1915 (1991) He rte he ‘atlogcth th aye bets ti Bsn characte {eres fren anus and sl intin of hete e5 permeates the whol el ie ofthe cory, xe eaten tl or he ‘cbt ei an at fete care a cl chesance,waten al rye pce cide Recs Mate (1675-1029) pin aca tae inthe creat af dei, Over ce stage mare aid inthe wk of Wale ‘ive ihe wrk of Chilean from the asphysiation imposed by geopolitics and eiicntaennsdaenemtentamammanttnen:aamucdaue. castiomaat the confinement of desire, Without a fixed place eee eee and itis this whieh makes us so interesting ~ we fren ee ae eh reside in mobility and live in a constant state af i redefinition, where the question of cultural idem taco grevahys ts whiner is permanently open: Teamg he antes Refi rae ws, a 4m the midst of fractures and decadences, per seg roU0G¥. re Das eosin ; plexed hy our history and our present, devoid Sw a emanate ofa self-suffictent identity, we Latin Americans, i especially artists and intellectuals, find our: ove gmc, catch a 4s De esta forma, proponer otra cartogralia para et te contemporsinco productdlo en Latinoamérica $ tavestigar las posibiles transformaciones en lt comprensin de esta produccidn a través de la ‘desterrtorializacion de los conceptos que se ‘ristalizaron sobre ella, en el discurie de la histor ‘a del arte en el siglo XX. Lo importante es pro- ‘mover Ia posbilidad de que ef arte que aht se pro- zea deje de ser el otc de que se habla para sarantizare l ejercicio pleno de los lenguajes, preservando la especificidad y la autonomta de las poeticas, Asi el curador/eartografo parte en una ‘expedicion procurando describir las esteategias en la produecion de Arte, deforma que se revele el cmbate de estas produeciones en las cuestiones que conforman lac Memporaneldad. Lo que efee- Livamente interesa es perebir Ia potencia de fuego de la producciéa atistica de Latinoamérica para conatituirestrateglas que hagan posible el sturgimiento de alguna forma intligente y original de arte contemporaneo en Latinoamérica, 46 De cete facon, proposer une autre cartographic our Varé contemporain prodult en Amérique latine est faire des recherches sur les possbit lues de transformations dans ta comprehension de cette production travers la deterritorialisa- tion des concepts qui sy crisallsent au cours de histoire de Ye du vingtiome sige. Limpor- tant cst dencourager ta porsiblté que Tart ul se prodult ne so plus Pauere dont on parte our ai assurer le plein exercice des langages, réservant ta specifiite et Yautonomie des pot Aiques. Aint le conservateur/cartographe part n expedition cherchant a décrir les strategies dans la production dart, de manitre de révéler le choc de ces productions de meme que les ‘questions qui forment la conteporaneite. Ce qul Incaresse effectivement c'est de percevoir le pow voir du feu de ta production artistique de Amérique latine pour constituer des strategies ut rendent possible Vémergence dune certaine orm intelligente et originale dart contempo: rain en Amérique lain, ; ! selves faced with an unprecedented opportuni- ty: to consider our time starting from the ect imenical, carving the cultaral provincialisms, recovering the legacy ofan illustrious and cos- mopolitan West, but definitely entrenched in the knowledge which emanates from our own faults, from our suspect scepticism of those dreams we were promised by the American utopia.t Thus, to propose another cartography for the con- temporary art produced in Latin America ts to investigate possibilities for transformation. In par- sioulae, iis an attempt to change the comprehen ston of this produetion through a de-tervitortaliza- tion of the rigidly-held positions of twentieth- century art history. What is important is to pro- smote the possibilty that the art which is produced there ceases to be the other which is spoken of in order to guarantee it the full exercise of languages, preserving the specificity and auconomy of the pocties, So the curator/eartographer goes off on expedition seeking to describe strategies in the pro- duction of Art, so as o reveal the collision of these Productions with the issues which make up cone temporariness, What truly matters isto perceive the firepower of the artistic production in Latin America, to constitute strategies which enable the emergence of an intelligent and original form of contemporary art in Latin America. ‘ous the Counter Bort isiramenil hater ‘heh ee ole proj, Behind he mow, hee seas coutaton a ie sto ecclag. Pom such spi ofvew. tbe Consuet has ees eeanen ‘scazolopel cont, ih hesupenmpontion of sel echruniesl lina detay fran, Dep te theta dx Ay apparel Lain Arar teense ng snenan wemat aetioy. The wok of egetnsn Vite Gp operates he aati meongaton of ergy om re (pao, 9 snc of egy and prety the ‘mao coniiton af Aner o het of Burp) ie (@Earpean concept nosed conan), the ist rede rade pn ten he aay an one see shouned yar ld pois fom arene -Andenn grove. Grip, ol ‘eso pate of matric ehaelogy elev of sbol.resking in, repetiue yet Venezul Ae Wenemaser uns the ster Thorp oh th ‘ment ould stale. complex mati. er seach wren uid ws consicve raster, whic, however ah nes ae hry pnb Ieratherincorporas confit of yells the ner af cement ad he phase mpeg flies dents is he ate. Moving fom engineering ie srciecwe. het cone a sei Find al ‘educa ard saces that Wevemexe (ks expences etton sain Je Laser seal obj rom selena ete in. er under an expec ela sey Ive te ach for ‘hee eagle clare of ple lame ree the “Ende Cou” of enc nthe feo gs aa ese oun The organza of wap pete les sd aaa ete, a wel ath tg dle wh "he adnetsonf a rw bn ar and fn ee Lene apace” fr thing, het din wh tha nen ofa penn sai sas rsunpn, Amangesh sea whch enti al coprophagia a IV. Cartographies I Jos cle los nrtistastavitados a Cartogeaphies no prevenuden ius lea. na especie de verdad defnitiva Sobre el arte produeide en rica. AL contravi los trabajos se suet un poco ala deriva en la expasivian, com pletamente bajo ef dominio y el riesgo de sus pre o cuaiquier idea, rogativas. Ellos mismos = y par ellos ~ son responses por las zonas de tension ty extevior, que se pueda colacar sobre Por las lecturas que postbilitan, ‘Ast como el partido udopiado por la curadoria ~ na cartogeatia personal y unica ~configuen la ‘exposiclon como un campo imerrogane en que la propia situacion curatorial estaria ent juego, nece- stando relicerse a cada instante en que es con templada estos trabajos revelan la posibilidad de recorter, con un grado maximo de sensibilidad, las irregularidades del territorio narrado por Cartographies, sin evitar las grietaso las con- cavidades no exploradas, proponiendo ellos mis. mos et diseno de muchas otras cavtografias, No importa de donde ellos viensn sino fo aue preseo tam como saber y con qué estrategia busean Snscrbitse en la eScena eontempordnea, Rechazan 1 perspectiva del distanciamiente de los saberes {nsttucionalizados y tambien ef confort de una Gestalt configurads por Ii tes apenas vishambra dos ¢ indectsos. Sin embargo, existe un elemento aghitinador capaz de explicar la reunion, en un mismo esps cio, de estos artistas. EI proceso de seleccion que 48 } _ IV. Cartographies | es trawauis des artistes invites Cartographies se pretendent pas Musives tune ide, un theme ow veveter aucune espece de veritedefinive sur Fart produit on Amerique laine, Au contrat, es travaiey sont lasses wn pw ‘su derive dans Fesposition, emierement sous Fempiee et le visque de ses prerogatives: ce som ees tes et nom pas quelque ie, Jmpartiate et extericure, ui pourraient sy planer = qu sont responsables pour les zones de tension qu'ils établisent, pour les lectures quils rendent ossbles.Ains comme un part adopte par ta cow servation —1n cartographle personnelte et unique — «configure Vexpositon comme un champ interrox _eant en quo la propre situation organlsatrice serait en Jou, nécesstant dela refaire& chaque {Instant quette st contempige, ces travaux révélent ta possbilcé de parcourir, 8 un degré maximum de sensible, les inrégulartés da terroir raconte ar Cartographies sans sécartr des fissures ou des cavtés non exploréesproposant elles-mémes fe dessin de plusieurs autres cartographies, Pew Importe dou its viennent mais pluto ce quis résentent en ant gue savoir, et avee quelle strategie ts cherchent a Siserire sur ta seéne con- emporaine. ls refusent la perspective de a diss tance des savoirsinsttutionnatisés et aussi le con- fort dane Gestals démarqute par des limites & eine entrevues et indéctses Cependant il existe un element agglutinant capable expliquer la réunion, dans un meme espace, de ces artistes, Le processus de selection qui fut mener 1V, Cartographies i works of the artists invited to Cartographies does not intend 10 illusteate fan idea or a theme, or even to reveal some sort of definitive truth about the art produced in Latin America, On the contrary. the works are sort of left adrift tn the exhibition, completely under the «lominion and the inherent risk of their own prerog- atives: they themselves ~ and not some impactial or external ideal that might hover over thes ~ are responsible for the zones of tension that they instl- tute, for the readings they permit. tn the same way that the curatorial line ~a personal and unique ex tography ~ makes the exhibi jon an interrogutive fielel in which the eusstorial siguation isell is at stake, having to be undone at every moment in which itis observed, these works reveal the possi- bility of traversing, with a maximum degeee of sen- sitivity, the irregularities of the Leetltory narrated by Cartographies, without deviating from fissures or unexplored reenteances, themselves proposing the drawing of many other eartographies. I maters sot where they come from, bu rather wha: they present 4s knowledge and the surategies with which they attempt to inscribe themselves on the contemporary art scene. They refuse the perspective of the distanc- ing of institutionalized forms of knowledge 3s well as the comfort of Gestalt demareated by lenits merely glimpsed and indecisive ‘There exists, however, an agglutinant element sess hc hse pu » evita, Manicanieme, 1990 50 se lewd a eabo con elles astme toda fa arbi. wariedad del gesto de escoger. Al igual que el Artista esta marcado por Ia subjetividad de sus Preferenclas desde el primer instante en que da forma a una ide, la curadorta asume como dato de realidad en su campo de trabajo la arbi Uwariedad de su gesto. La tures del eurador tant ‘ben es excluir, Otras curedores harian otras selee- clones, disenartan ottos mapas. Cartographies se propone traducit, por medio el agrupamiento inedita de atistes, los difer= entes estados de espiritu de nuestra époea, Sit ‘cuestionar el cardeterindividualista € irreducible a va idea generalizadora de toda exposicion, la reunion de estos artistas procurs su sigificecton en el debate dela contemporaneidad y abre un ‘spacio particular a cada una de las obras (de aht 1a adopelon de densos nicleos de trabajos orienta- dos a permitir una mejor comprension del artista). El objetivo es exponer trabajos empenados en la Snteligencia de su especificidad, en disponibilidad para atravesar Io soci sin prescindie de su régi- men propio de funcionamiento, sin desear refle Jarseen él resistiendose a la obligutoriedad de la correspondencia a todo costo con loreal. Al cone tuatio,cads uno de estos artistas instala una difer fencla, singular ¢ irreducible, Estos artistas emer sen como otros mareadores reconfigurando el ter- ritorio ya constituido por el aeademicismo con- tempordnco, Proponcn un ensanchamiento del ‘campo de reflexion para permitit la aparaicion de ‘otros puntos de vista, de otras eartografias, 32 4 bien assume tout Vartibvatre du geste de cholstr, A Tegal de Vartiste qui est m que par ta subjective de ses preferences deste premier {instant oi se forme une idee, ta comservateur ‘assume comme donée de ralite dans son champ de avai! Parbitraire de son geste. La tache dy conservateur est aussi dexclure. De servateurs feraiont autres chotx, dessinevaient autres cartes. Cartographies se propose de traduire, parte sroupement inedit Bartsts, des differents eeats esprit de notre époque, Sans questionner le caractere individualist et rréduetible a une idee gevéralisatrice de toute exposition, ta reunion de ces artistes cherche sa signification dans le déoae de ta contemporanité et dans Houveture dun espace particulier a chacune des oeuvres (d'ou adoption de noyaux denses orientés pour per ‘mettre une meilleure compréhension de t Le but est dexposer des eravaux engages dans Mincellgence de fur spécifcite, en disponibile Dour traverse fe soctal sans renoncer a le pro- pre moyen de fonctionner, sans vouloir sy iver ‘sistant au devoir de s'accorder avec le réel tout prix, Au contrive, chacun des artistes table une difference, snguliere et réductibl Ges arstes emergent avec dautres bornes reconfigurans les marques tu terroir dja con stitué par Vacadémnisme contemporain ts pro- osent wm élargissement du champ de réflexion our permetire Yapparition autres points de vue, autres enrtographies capable of explaining the union, in one space, of these artists. Theie selection assumes all the arbi- tratiness of the act of selecting, Just as the artist, fom the moment an idea is initially formalized, is marked by the subjectivity of her choice, the curator assumes as areal feet fn his field of work the arbi- ‘vatiness of his gesture. The entator’s task is also to exclude. Other curators would make other choices, draw other maps, Cartographies proposes to translate, by the ‘unprecedented gathering of artists, different spiritue 4 states of our time. Without questioning their indie idualistie natures or reducing them to an idea of the whole exhibition, their union seeks meaning in the dlebase on contemporariness and in the opening of a particular space for each one of the works (hence the adoption of a dense nuclei of works, so as to alow for a better understanding of each artist), The objec- tive is to exhibit works engaged in the intelligence of “heir specificity, available to traverse the social with ou giving up their own way of functioning, resisting the obligation to correspond with the real at any cost, On the contrary, each one of these artists estab- lishes a difference, singular and irreducible, They ‘merge as other landmarks unmarking the territory already constituted by contemporary academicism. They propose the enlargement of the Reld of reflec- tion in order to permit the appearance of other polnts of view, other cartographies. LGCOMEIRIES The many sromeseso tae Amst Aion, promeen snr” Cleebinn Cals foi, Armrest” of Sst Emo! Ao ote by Ameen Grae Preston ho dd at onde the ee alison wo Brain Content coc gor try tat emiooment ss socal ign for he Antonio Di) or the degra “Gronet enable fst edb Agennan ces ldo Fell ent amin ajo tas widely else freee appro Ameren, nsuen aes, Tar Garcia ie sche SGHELTO. eyo esol goto sa ent Soe LATIN ANEMIC. he ening ofp pe oh subse etry fr te expres an sl rpsente sono the grou aed mires ay en aioe ‘ul becore « genpaliel sty reralg in eso ‘snip oe. Ptoizing appre then bre in ‘esl galt he enfin fan tt eto with ‘oleltat etme appontnmen. The Biian att Tangs aso Gengrphictly La fain Aenean PHofesoraly 1am aan staal athlon to ‘mankind hearer orgaeize dng tout ar 9 gr apie orgopolucal er a best a ence apron Sion of whe rly represent he ham oe Aes ihe Cid Metele Aled at Jum Onl te ‘engngedin evan and giving eke the thew {GLOSSARY This ghey comprises seein of ens 8 nsec incompe de othe sno the jet See UNIVERSE) an he nie veenees ha onesigeaisten aeeyetavele, Asean eel of complet each ee que ten vat els in Shemselves Thepeote most eres ane pened stride Ferm or with paral aol, Th oie to gar minions oc becane mow eis niet the sly fan ase, Hardly ay ene oul tr ‘evs he heme a able outer beanie Lenn Ameria Theater ieee be ob ens ed ath gon, even eeseen ofan reo, Deep sca onuaieden in soy of ay et art the uesion of eal Sew NEUTRALITY), There # ‘pari orespones ees were-ergagement. On the iter hand, unumemble sous sentence “am Amenea nor even stated win he coset Tere no pry apa im the paces a enne of expen Geopalicing lea cone shaton”sa8, Mludedby Teng. Hower, Oe Rona, pots sei cat aro. tn sete te maavngbounaee (See LATIN AMERICA}, ie grgroiil ame of te ee “tsi Ah surveyed by HIsoy. neha es Latin Ameren en grogmphic sucanient ofthe Westen hemisphere dea wth veo cl cone, laurosmenanida shoo ot seve the en of lle 33 To Mesquita ‘Sto Paulo, verano de 1993 “Traduccisn: Rodolfa Mata, Noras extend ec eof tna cpeside meni dea acids 9 ke dino te fos Sim embargo. durante ne pct rch dela fron ‘amiss, yYerade dete, ni en derente fons ens preys en ge tg, 8 semaine ‘ete: magnon Shgalare oops yet). umdaco enat de St Pl, 187 (con Soi Saati Cleo) 0 Deseo au Academia 1847-1916 lexposcon¥ ‘uh, Pnseateca do Ev, to Palo, 995 dona Amerie Latina (api) Meri Deservlvimento das Ares Pasene Cotomporinent Ameren Latins onterace)Ecverira de Universidade, prs, 10. 2. Sol ol Cartogeatia Sentinel: Teamefornages Contomporanens do Deo, Eo Liberads (a0 Pale 5. Scomdermoe qu ps precalomina mucho rms mp que as estas a, Mays Aste, qu os plas ge gl vireo se prod deat dfrnis gad on gues oo lo pes vem ee yor migtors de Europa de Orme sedan ener ees

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