1 New York University in Buenos Aires Fall 2012 Art and the City

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1 New York University in Buenos Aires Fall 2012 Art and the City: Buenos Aires, New York, Rio de Janeiro and Mexico City Professor: Florencia Malbrn Course Schedule: Tuesdays and Thursdays, from 17:15 to 18:45 pm. Office hours: by appointment 1. Course Description This course studies modern and contemporary art and architecture through a strategic focus on the cities of Buenos Aires, New York, Rio de Janeiro and Mexico City. We consider key artworks and architectural movements, approaching art history in urban, sociohistorical and contextual terms. Emphasis is placed upon the city as a hub for the production and reception of art. Cities are multifarious complexes of paradoxical elements, where rhythms of stasis and motion coexist. Every city absorbs creative interchange, while also triggering different types of transformation. Our speculations on the urban environment will bring up multiple questions that point back to and extend beyond the mere physical structure of the city, discovering arenas of social action. How does art exploits the characteristics of the metropolis? How is art distributed and consumed throughout the dense fabric of the city? We will explore art (primarily Latin American art) as a staging ground for the city, and the city as staging ground for art. Developing comparative perspectives on Buenos Aires, New York, Rio de Janeiro and Mexico City will illuminate the particularities of the places under investigation, albeit with reference to aesthetic trajectories as well as broader technological, economic, and social-political changes. New York is included in our selected network of Latin American cities, acknowledging its critical importance as a center of cultural experimentation where artists (including Latin American artists) share ideas in a global context. Work in class will focus on both visual and textual analysis, employing images, manifestos and critical essays. The course includes a lively program of tours throughout Buenos Aires, visits to museums and private art collections, and conversations with guest contemporary artists. 1

2 2. Course Requirements and Grading Students must come to each class having read the material carefully, and be prepared to speak intelligently. Participation in class discussion is essential andonly possible if you do the mandatory readings. Additional suggested readings are optional. There will be a midterm exam, concerning identification and discussion of slides along with definitions of vocabulary words. There will also be a short paper and a longer final paper. Instructions regarding the papers will be provided at a later date. If you turn a draft of your final paper one week early, I will personally go through it with you for rewriting so that you may submit it again for a better grade. Failure to submit either paper will result in the assignments automatic failure and possible failure in the class. Class participation and attendance 15 % Midterm exam 30% First paper 15% Final paper 40% TOTAL 100% The course uses the following scale of numerical equivalents to letter grades: 100-93 A 76-73 C 92-90 A- 72-70 C- 89-87 B+ 69-67 D+ 86-83 B 66-60 D 82-80 B- 59-0 F 79-77 C+ 3. Class participation and Attendance NYU Buenos Aires has a strict policy about course attendance. Students should contact their class teachers to catch up on missed work but should NOT approach them for excused absences. Absences due to illness must be discussed with the Assistant Director for Academics Affairs, Mara Pirovano Pea within one week of your return to class. A doctor note excusing your absence is mandatory. The date on the doctors note must be the date of the missed class or exam Absence requests for non-illness purposes must be discussed with the Assistant Director for Academics Affairs, Mara Pirovano Pea prior to the date(s) in question. If students have more than two unexcused absences they will be penalized by deducting 50 % of the class participation grade. Please be aware that in most of the courses the class participation grade is 20% of the final grade. So the 50% of the class participation grade would mean 10 % of the final grade. 2

3 If students have more than four unexcused absences they will fail the course. Each class has a duration of one hour and half or two hours. Missing one class represents one absence. For those courses that meet once a week (three hours block), missing one class represents two absences. Students are responsible for making up any work missed due to absence. Please note that for classes involving a field trip or other external visit, transportation difficulties are never grounds for an excused absence. It is the students responsibility to arrive at an agreed meeting point in a punctual and timely fashion. Holidays make up classes are mandatory as regular scheduled classes. 4. Punctuality Students are expected to arrive to class promptly (both at the beginning and after any breaks) and to remain for the duration of the class. It is highly recommended to be on time. Three late arrivals or earlier departures (10 minutes after the starting time or before the ending time) will be considered one absence. For classes involving a field trip or other external visit, transportation difficulties are never grounds for an excused absence. It is the students responsibility to arrive at an agreed meeting point in a punctual and timely fashion. 5. Plagiarism/cheating The presentation of another persons words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism. The instructor will uphold the universitys code of academic and personal conduct for all instances of plagiarism. Please find this code in NYU policies at the NYU website. 3

4 6. Course Schedule Week Topic Readings / Museum visits I I. Course presentation: Latin Ramrez, Mari Carmen. Beyond the Aug. American art and the city. Fantastic: Framing Identity in US 27-31 Exhibitions of Latin American Art. I. a. Framing Latin American art. I. b. The city as an arena for the Fraser, Valerie. Introduction. Building encounter between differences. the New World. Studies in the Modern Architecture of Latin America 1930- 1960. Lefebvre, Henri. The Urban Revolution. II II. Avant Garde in Latin America. Art Coffey, Mary K. The Mexican Sept. in the 1920s and 1930s. Problem: Nation and Native in Mexican 3-7 Muralism and Cultural Discourse. II. a. FOCUS MEXICO CITY: Mexican muralism. The Mexican Manifesto of the Union of Mexican Revolution and Jos Vasconcelos new Workers, Technicians, Painters and educational program (1920-1924). Sculptors. Modern architecture intertwined with muralism. Diego Rivera, Jos Clemente Rochford, Desmond. The Technology of Orozco, David Alfaro Siqueiros. Utopia. Fraser, Valerie. Mexico. III Visit to the mural Plastic Exercise in Sept. Buenos Aires, by David Alfaro Siqueiros, 10-14 Antonio Berni, Lino Eneas Spilimbergo, and others [Ejercicio plstico]. (Museo del Bicentenario) II. b. The Modern Art Week (1922) and Barnitz, Jacqueline. The Avant-garde of the Brazilian avant-garde. The the 1920s: Cosmopolitan or National Brazilwood manifesto (1924) and the Identity? Anthropophagite Manifesto (1928) [Manifesto Pau-Brasil; Manifesto Andrade, Oswald de. Anthropophagite Antropfago]. Tarsila do Amaral and Manifesto. Oswald de Andrade. Andrade, Oswald de. The Brazilwood Manifesto. IV II. c. FOCUS BUENOS AIRES: Gutman, Margarita. The Power of Sept. Emilio Pettorutis 1924 exhibition at the Anticipation: Itinerant Images of 17- 21 Witcomb Gallery and the Argentine Metropolitan Futures. Buenos Aires 1900- avant-garde. Xul Solar. Culture, 1920. urbanism and planning: imagining a modern city. Sarlo, Beatriz. The Case of Xul Solar: Fantastic Invention and Cultural II. d. Antonio Berni: Muralism beyond Nationality. Mexico? Liernur, Jos Francisco. Arquitectura en la Argentinadel Siglo XX: La 4

5 Construccin de la Modernidad. (excerpts) Anreus, Alejandro. Adapting to Argentinean Reality: The New Realism of Antonio Berni. V Visit to Malba Fundacin Costantini. Sept. Museo de Arte Latinoamericano de 24- 28 Buenos Aires. II. e. FOCUS NEW YORK: Fl, Juan. Torres-Garca in (and from) Abstraction, Non-objectivity and Montevideo. Constructive art. The Guggenheim Museum and Frank Lloyd Wrights Cullen, Deborah. Nexus New York: architectural thought. New York as an Latin/American Artists in the Modern international axis for Latin American art. Metropolis. Levine, Neil, The Guggenheim Museum. Frank Lloyd Wrights Logic of Inversion. VI Midterm examination Oct. 1-5 III. A Radical leap: political upheavals Brett, Guy. A Radical Leap. and cultural experiments in Latin America. Visual languages and Fraser, Valerie. Brazil. provocation. Innovative architecture. Reconfigurations of the concept of art. Gullar, Ferreira. Neo-Concrete Manifesto. III. a. Abstract Art and the creation of a new space. Inauguration of Brasilia. The Ruptura and Neo-concrete movements of Brazil. VI III. b. FOCUS RIO DE JANEIRO: Rolnik, Suely. Molding a Contemporary Oct. Lygia Clark and Hlio Oiticica. Roberto Soul: The Empty-Full of Lygia Clark. 8-12 Burle Marx. Lcio Costa and Oscar Niemeyer. Clark, Lygia. Beasts [Bichos]. David, Catherine. Hlio Oiticica: Brazil Experiment. Veloso, Caetano. Tropiclia. Oiticica, Hlio. Selected Writings. VIII III. c. Conceptual Art in Latin America Ramrez, Mari Carmen. Tactics for Oct. Thriving on Adversity: Conceptualism in 22-26 Latin America. Camnitzer, Luis. The Markers of Latin American Conceptualism. Kosuth, Joseph. Untitled Statement (1968). 5

6 LeWitt, Sol. Sentences on Conceptual Art. IX III. d. The Argentine Centro de Artes Giunta, Andrea. The Avant-Garde Oct. Visuales del Instituto Torcuato Di Tella Between Art and Politics. 29- (1960-1970). Marta Minujn. Len Nov. Ferrari. Tucumn Arde. Greco, Alberto. Vivo-Dito Manifesto 2 and Grand Vivo-Dito Anti-Manifesto Manifesto Scroll. Minujn, Marta. Destruction of My Works in the Impasse Ronsin, Paris. Minujn, Marta, Santantonn, Rubn, and Romero Brest, Jorge. La Menesunda. Ferrari, Len. Artists Response. Surez, Pablo. Letter of Resignation. Gramuglio, Mara Teresa and Rosa, Nicols. Tucumn is Burning. Statement of the Exhibition in Rosario. X III. e. FOCUS BUENOS Masiello, Francine. Introduction. In The Nov. AIRES/FOCUS NEW YORK:Violence Art of Transition: Latin American Culture 5-9 and memory. Commemoration and the and Neoliberal Crisis. city. El Parque de la Memoria in Buenos Aires. Ground Zero in New York. Simpson, David. Remembering the Dead. Battiti, Florencia and Rossi, Cristina. The Art of Remembering. Short paper due Visit to Parque de la Memoria. Monumento a las Vctimas del Terrorismo de Estado. XI IV. Aftermath: the current stakes of Bourriaud, Nicolas. Relational Form Nov. art in Latin America. Globalization, and Art of the 1990s. In Relational 12-16 participation, site specificity. Aesthetics. IV. a. MEXICO CITY THROUGH THE Bishop, Claire. Antagonism and LENS OF ART: Francis Als and Relational Aesthetics. Gabriel Orozco. Farquharson, Alex. Curator and Artist. Medina, Cuauhtmoc. Maximum Effort, Minimum Result. Vicario, Gilbert. What Makes Art Mexican? 6

7 SCREENING: Francis Als. When Faith Moves Mountains. Cuando la fe muevemontaas. DVD, 15. [Lima: abril, 2002. Un proyecto de Francis Als, en colaboracin con Cuauhtmoc Medina y Rafael Ortega. Con la participacin de los estudiantes de ingenieria de la Universidad Catlica, de la Universidad Federico Villareal de San Marcos y dems voluntarios.] XII IV. b. RIO DE JANEIRO THROUGH Herkenhoff, Paulo. General Nov. THE LENS OF ART: Ernesto Neto and Introduction. In XXIV Bienal. Ncleo 19-23 Beatriz Milhazes. Histrico: Antropofagia e Histrias de Canibalismos. Pedrosa, Adriano. Intimate Sculptures. Pedrosa, Adriano. Ernesto Neto. Herkenhoff, Paulo. Beatriz Milhazes the Brazilian Trove. Pedrosa, Adriano. South Seas. Visit to a private art collection. XIII IV. c. BUENOS AIRES THROUGH Jagoe, Eva-Lynn Alicia. Jorge Macchis Nov. THE LENS OF ART:Guillermo Kuitca, Fractured Narratives of Buenos Aires. 26-30 Pablo Siquier, Jorge Macchi. Mesquita, Ivo. Pablo Siquier: Living in the city. Katzenstein, Ins. Some thoughts on Guillermo Kuitca in Buenos Aires. Mesquita, Ivo. Cartographies and Latin America: Another Cartography. In Cartographies. XIV Conversations with guest contemporary Dec. artists. 3-7 December 10th-14 th: Final Paper Due Changes to the syllabus may be made, especially if there are exhibitions that make the discussion of some of the issues timely or when certain speakers are available. Additional material could be added. 7. Mandatory readings Andrade, Oswald de. Anthropophagite Manifesto. In Readings in Latin American Modern Art, ed. Frank Patrick, 24-27. New Haven and London: 2004. 7

8 ________. The Brazilwood Manifesto. In Inverted Utopias. Avant-Garde in Latin America, ed. Mari Carmen Ramrez and Hctor Olea, 465. New Haven and Houston: Yale University Press in association with The Museum of Fine Arts, Houston, 2004. Anreus, Alejandro. Adapting to Argentinean Reality: The New Realism of Antonio Berni. In The Social and the Real. Political Art of the 1930s in the Western Hemisphere, ed. Alejandro Anreus, Diana L. Linden and Jonathan Weinberg, 97-112. Pennsylvania: The Pennsylvania State University Press, 2006. Barnitz, Jacqueline. Twentieth-Century Art of Latin America. Austin: University of Texas Press, 2001. Battiti, Florencia and Rossi, Cristina. The Art of Remembering. In Parque de la Memoria, Monumento a las Vctimas del Terrorismo de Estado, ed. Nora Hochbaum and Florencia Battiti, 103-113. Buenos Aires: Consejo de Gestin Parque de la Memoria, Monumento a las Vctimas del Terrorismo de Estado: 2010. Bishop, Claire. Antagonism and Relational Aesthetics, October 110 (Fall 2004): 51- 79. Bourriaud, Nicolas. Relational Form and Art of the 1990s. In Relational Aesthetics. Dijon-Quetigny: Les presses du rel, 2002. Brett, Guy. A Radical Leap. In Art in Latin America: The Modern Era, 1920 1980, ed. Dawn Ades, 253-283. New Haven: Yale University Press, 1989. Camnitzer, Luis. The Markers of Latin American Conceptualism. In Conceptualism in Latin American Art: Didactics of Liberation. Austin: University of Texas Press, 2007. Clark, Lygia. Beasts [Bichos]. In Readings in Latin American Modern Art, ed. Frank Patrick, 176. New Haven and London: Yale University Press, 2004. Coffey, Mary K. The Mexican Problem: Nation and Native in Mexican Muralism and Cultural Discourse. In The Social and the Real. Political Art of the 1930s in the Western Hemisphere, ed. Alejandro Anreus, Diana L. Linden and Jonathan Weinberg, 43-70. Pennsylvania: The Pennsylvania State University Press, 2006. Cullen, Deborah. Nexus New York: Latin/American Artists in the Modern Metropolis. New York and New Haven: El Museo del Barrio in association with Yale University Press, 2009. David, Catherine. Hlio Oiticica: Brazil Experiment. In The Experimental Exercise of Freedom, ed. Susana Martin and Alma Ruiz, 171 201. Los Angeles: Museum of Contemporary Art, 1999. Farquharson, Alex. Curator and Artist, Art Monthly (October 2003): 13-16. Ferrari, Len. Artists Response. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 279-282. New York: The Museum 8

9 of Modern Art, 2004. Fl, Juan. Torres-Garca in (and from) Montevideo. In El Taller Torres-Garca: The School of the South and its Legacy, ed. Mari Carmen Ramrez.Austin: Archer M. Huntington Art Gallery, 1992. Fraser, Valerie. Building the New World. Studies in the Modern Architecture of Latin America 1930-1960. London and New York: Verso, 2000. Giunta, Andrea. The Avant-Garde Between Art and Politics. In Avant-garde, Internationalism, and Politics. Argentine Art in the Sixties. Durham: Duke University Press, 2007. Gramuglio, Mara Teresa and Rosa, Nicols. Tucumn is Burning. Statement of the Exhibition in Rosario. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 319-326. New York: The Museum of Modern Art, 2004. Greco, Alberto. Vivo-Dito Manifesto and Grand Vivo-Dito Anti-Manifesto Manifesto Scroll. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 38-42. New York: The Museum of Modern Art, 2004. Gullar, Ferreira. Neo-Concrete Manifesto. In Readings in Latin American Modern Art, ed. Frank Patrick, 172-175. New Haven and London: Yale University Press, 2004. Gutman, Margarita. The Power of Anticipation: Itinerant Images of Metropolitan Futures. Buenos Aires 1900-1920. In Culture, Urbanism and Planning, ed. Javier Moncls and Manuel Guardia, 85-11. Burlington: Ashgate Publishing Company, 2006. Herkenhoff, Paulo. General Introduction. In XXIV Bienal. Ncleo Histrico: Antropofagia e Histrias de Canibalismos. So Paulo: Fundao Bienal de So Paulo, 1998. ________. Beatriz Milhazes the Brazilian Trove. In Mares do Sul, ed. Adriano Pedrosa, 139-145. Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. Jagoe, Eva-Lynn Alicia. Jorge Macchis Fractured Narratives of Buenos Aires. In Light Music. Essex: AHRC Research Center for Studies of Surrealism and its Legacies. University of Essex, 2006. Katzenstein, Ins. Some thoughts on Guillermo Kuitca in Buenos Aires. In Guillermo Kuitca. Obras 1982-2002, ed. Sonia Becce and Paulo Herkenhoff, 291-298. Buenos Aires: Malba-Coleccin Costantini, 2003. Kosuth, Joseph. Untitled Statement (1968). In Theories and documents of Contemporary Art: A Sourcebook of Artists Writings, ed. Peter Howard Selz and Kristine Stiles, 480. Berkeley: University of California Press, 1996. Lefebvre, Henri. The Urban Revolution (1968). In The Global Cities Reader, ed. Neil 9

10 Brenner and Roger Keil, 407-413. London and New York: Routledge, 2006. Levine, Neil. The Architecture of Frank Lloyd Wright. Princeton: Princeton University Press, 1996. LeWitt, Sol. Sentences on Conceptual Art,Art Now (June 1971): 168. Liernur, Jos Francisco. Arquitectura en la Argentina del Siglo XX: La Construccin de la Modernidad. Buenos Aires: Fondo Nacional de las Artes, 2001. Manifesto of the Union of Mexican Workers, Technicians, Painters and Sculptors. In Readings in Latin American Modern Art, ed. Frank Patrick, 33-35. New Haven and London: Yale University Press, 2004. Masiello, Francine. Introduction. In The Art of Transition: Latin American Culture and Neoliberal Crisis. Durham and London: Duke University Press, 2001. Medina, Cuauhtmoc. Maximum Effort, Minimum Result. In When Faith Moves Mountains. Cuando la fe mueve montaas, ed. Francis Als and Cuauhtmoc Medina, 178-181. Madrid: Turner, 2005. Mesquita, Ivo. Cartographies and Latin America: Another Cartography. In Cartographies. Winnipeg: Winnipeg Art Gallery, 1993. ________.Pablo Siquier: Living in the city. In Pablo Siquier. Madrid: Museo Nacional Centro de Arte Reina Sofa, 2005. Minujn, Marta. Destruction of My Works in the Impasse Ronsin, Paris. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 59-61. New York: The Museum of Modern Art, 2004. Minujn, Marta, Santantonn, Rubn, and Romero Brest, Jorge. La Menesunda. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 107-110. New York: The Museum of Modern Art, 2004. Oiticica, Hlio. Selected Writings. In Hlio Oiticica: The Body of Color. Mari Carmen Ramrez, ed. London and Houston: Tate Publishing and The Museum of Fine Arts, Houston, 2007. Pedrosa, Adriano. Ernesto Neto, Frieze (March April 1998): 91. ________. Intimate Sculptures. In Ernesto Neto, o corpo, nu tempo, ed. Cecilia Pereira. Santiago de Compostela: Xunta de Galicia, Centro Galego de Arte Contempornea, 2002. Pedrosa, Adriano. South Seas. In Mares do Sul. Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. Ramrez, Mari Carmen. Beyond the Fantastic: Framing Identity in US Exhibitions of Latin American Art. In Beyond the Fantastic. Contemporary Art Criticism from Latin 10

11 America, ed. Gerardo Mosquera, 229-245. Cambridge: MIT Press, 1996. ________. Tactics for Thriving on Adversity: Conceptualism in Latin America. In Global Conceptualism: Points of Origin, 1950s-1980s. New York: Queens Museum of Art, 1999. Rochford, Desmond. Mexican Muralists. San Francisco: Chronicle Books, 1993. Rolnik, Suely. Molding a Contemporary Soul: The Empty-Full of Lygia Clark. In The Experimental Exercise of Freedom, ed. Susana Martin and Alma Ruiz, 59 85. Los Angeles: Museum of Contemporary Art, 1999. Sarlo, Beatriz. The Case of Xul Solar: Fantastic Invention and Cultural Nationality. In Art from Argentina 1920-1994, ed. David Elliot, 34-39. Oxford: The Museum of Modern Art, 1994. Simpson, David. 9/11. The Culture of Commemoration. Chicago and London: University of Chicago Press, 2006. Surez, Pablo. Letter of Resignation. In Listen, Here, Now! Argentine Art of the 1960s: Writings of the Avant-Garde, ed. Ins Katzenstein, 290-291. New York: The Museum of Modern Art, 2004. Veloso, Caetano. Tropiclia. In Readings in Latin American Modern Art, ed. Frank Patrick, 180-181. New Haven: Yale University Press, 2004. Vicario, Gilbert. "What Makes Art Mexican?" In Made in Mexico. Boston: The Institute of Contemporary Art, 2004. 8. Suggested readings (topic by topic) I. Latin American Art and the City Decter, Joshua. Synergy Museum. In The Discursive Museum, ed. Peter Noever. Ostfildern: Hatje Cantz, 2001. Garca, Mara Amalia. Chronology. In Arte en Amrica Latina. Buenos Aires: Malba Coleccin Costantini, 2001. II. Avant Garde in Latin America. Art in the 1920s and 1930s. II. a. Craven, David. The Mexican Revolution (1910-1940). In Art and Revolution in Latin America. 1910-1990. New Haven and London: Yale University Press, 2002. II. b. Borsa Cattani, Icleia Maria. Places of Modernism in Brazil. In Brazil: Body and Soul, ed. Edward J. Sullivan, 380-381. New York: Solomon R. Guggenheim 11

12 Foundation, 2001. Nunes, Benedito. Anthropophagic Utopia, Barbarian Metaphysics. In Inverted Utopias. Avant-Garde in Latin America, ed. Mari Carmen Ramrez and Hctor Olea, 57 61. New Haven and Houston: Yale University Press in association with The Museum of Fine Arts, Houston, 2004. I. c. Schwartz, Jorge. Let the Stars Compose Syllables. In Xul Solar. Visiones y Revelaciones, ed. Patricia M. Artundo, 200-208. Buenos Aires: Malba - Coleccin Costantini, 2005. Sullivan, Edward J. Emilio Pettoruti: Una perspectiva internacional. In Emilio Pettoruti (1892-1971), ed. Edward J. Sullivan and Nelly Perazzo. Buenos Aires: Fundacin Pettoruti, Asociacin Amigos del Museo Nacional de Bellas Artes, 2004. [In Spanish]. I. d. Pacheco, Marcelo E. Antonio Berni: A Ro de la Plata Commentary on Mexican Muralism. In Berni and his Contemporaries. Buenos Aires: Malba - Coleccin Costantini, 2005. I. e. Bailey, Martin. The Bilbao Effect, Forbes, 2002. Goldberger, Paul. The Politics of Building, The New Yorker, October 13, 1997. Sullivan, Edward J., Art Worlds of Nueva York, In Nueva York 1613-1045. London: Scala, 2010. III. A Radical leap: political upheavals and cultural experiments in Latin America. Visual languages and provocation. Innovative architecture. Reconfigurations of the concept of art. III. a. Amaral, Aracy. Abstract Constructivist Trends in Argentina, Brazil, Venezuela and Colombia. In Latin American Artists of the Twentieth Century, ed. Waldo Rasmussen, 86-99. New York: The Museum of Modern Art, 1993. Belluzzo, Ana Maria. The Ruptura Group and Concrete Art. In Inverted Utopias. Avant-Garde in Latin America, ed. Mari Carmen Ramrez and Hctor Olea, 203 209. New Haven and Houston: Yale University Press in association with The Museum of Fine Arts, Houston, 2004. Herkenhoff, Paulo. Divergent Parallels. Toward a Comparative Study of Neo- concretism and Minimalism. In Geometric Abstraction. Latin American Art from the Patricia Phelps de Cisneros Collection. Cambridge, Caracas and New Haven: Harvard University Art Museums, Fundacin Cisneros and Yale University Press, 2001. 12

13 Prez Barreiro, Gabriel. The Negation of All Melancholy: Arte Mad / Concreto- Invencin 1944-1950. In Art from Argentina 1920-1994, ed. David Elliot, 54-65. Oxford: The Museum of Modern Art, 1994. Storr, Robert. Somethings Got to Give. In Gego. Between Transparency and the Invisible, ed. Mari Carmen Ramrez, 78-96. Houston and Buenos Aires: the Museum of Fine Art, Houston and Malba Coleccin Costantini. III. b. Bois, Yve-Alain. Some Latin Americans in Paris. In Geometric Abstraction. Latin American Art from the Patricia Phelps de Cisneros Collection. Cambridge, Caracas and New Haven: Harvard University Art Museums, Fundacin Cisneros and Yale University Press, 2001. Brett, Guy. Lygia Clark: Six Cells. In Lygia Clark, ed. Manuel Borja-Villel, 17- 53. Barcelona: Fundaci Antoni Tpies, 1998. Favaretto, Celso. Tropiclia: The Explosion of the Obvious. In Tropicalia: A Revolution in Brazilian Culture, ed. Carlos Basualdo, 81-96. So Paulo: Cosac & Naify, 2005. Ramrez, Mari Carmen. The Embodiment of Color From the Inside Out. In Hlio Oiticica: The Body of Color. London and Houston: Tate Publishing and The Museum of Fine Arts, Houston, 2007. III. c. Adams, Beverly. Installations. In Encounters/Displacements. Luis Camnitzer, Alfredo Jaar, Cildo Meireles. Austin: Archer M. Huntington Art Gallery, 1992. Duncan, Michael. Tracing Mendieta, Art in America (April, 1999): 11-113, 154. Merewether, Charles. From Inscription to Dissolution. In Corpus Delecti: Performance Art of the Americas, ed. Coco Fusco, 134-151. London and New York: Routledge, 2000. Morais, Federico. La crisis de la vanguardia en Brasil. In Arte Latinoamericano. Seleccin de lecturas, ed. A. Romera. La Habana: Editorial Pueblo y Educacin, 1987. [In Spanish]. Mosquera, Gerardo. Conversa com Cildo Meireles. In Cildo Meireles. So Paulo: Cosac & Naify, 1999. [In Portuguese]. III. d. Giunta, Andrea. The Avant-Garde as Problem. In Avant-garde, Internationalism, and Politics. Argentine Art in the Sixties. Durham: Duke University Press, 2007. Longoni, Ana. Victor Grippo: His Poetry, His Utopia. In Victor Grippo, ed. Marcelo E. Pacheco, 283-291. Buenos Aires: Malba - Coleccin Costantini, 2004. 13

14 III. e. Huyssen, Andreas. Twin Memories: Afterimages of Nine/Eleven, Grey Room (Spring 2002): 8-13. Merewether, Charles. To Bear Witness. In Unland/Doris Salcedo, ed. Dan Cameron, 16-24. New York: New Museum of Contemporary Art, 1998. IV. Aftermath: the current stakes of art in Latin America. Globalization, participation, site specificity. IV. a. Buchloh, Benjamin. Refuse and Refuge. In Gabriel Orozco, ed. M. Catherine de Zegher, 39-51. Kortrijk: The Kanaal Art Foundation, 1993. Cooke, Lynne. Relocating Meaning. In When Faith Moves Mountains. Cuando la fe mueve montaas, ed. Francis Als and Cuauhtmoc Medina, 146-153. Madrid: Turner, 2005. Ferguson, Russell. Francis Als: Politics of Rehearsal. Los Angeles: University of California, 2007. Hertz, Betti-Sue. The Circumstance is Mexico: Art practice for the transitory cosmopole. In Axis Mexico: Common Objects and Cosmopolitan Actions. San Diego: San Diego Museum of Art, 2002. Medina, Cuauhtmoc. The Stage and The Stereotype: Daniela Rossells Ricas y Famosas. In Witness to Her Art, ed. Rhea Anastas and Michael Brenson, 311-323. New York: Center for Curatorial Studies, 2006. IV. b. Basualdo, Carlos. A Grammar of Exceptions. In Ernesto Neto. So Paulo: Galeria Camargo Vilaa, 1998. Herbert, Martin. Dark Side of the Boom. Beatriz Milhazess Bruising Beauty. Modern Painters (December 2005 January 2006): 78-81. Herkenhoff, Paulo and Pedrosa, Adriano. The Carioca Curator, Trans > arts.cultures.media (vol. 6, 1999): 6-15. Israel, Nico. Ernesto Neto, Artforum (January 1995): 93. IV. c. Carrera, Arturo. Carpe Noctem de Siquier. In Pablo Siquier, ed. Ivo Mesquita. Madrid: Museo Nacional Centro de Arte Reina Sofa, 2005. Herkenhoff, Paulo. The Painting of Guillermo Kuitca. In Guillermo Kuitca. Obras 1982-2002, ed. Sonia Becce and Paulo Herkenhoff, 265-288. Buenos Aires: Malba- Coleccin Costantini, 2003. Prez Barreiro, Gabriel. Jorge Macchi: The Anatomy of Melancholy. Porto 14

15 Alegre: Fundao Bienal do Mercosul, 2007. http://www.jorgemacchi.com/eng/tex10.htm Salgado, Gabriela. In conversation with Jorge Macchi and Edgardo Rudnitzky. In Light Music, Essex: University of Essex, 2007. http://www.jorgemacchi.com/eng/tex17.htm Shaw, Ed. Mapping the Interstates of the Mind. An interview with Guillermo Kuitca. In Art from Argentina 1920-1994, ed. David Elliot, 124-127. Oxford: The Museum of Modern Art, 1994. 15

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