The Sites of Latin American Abstraction
Selections of the Ella Fontanals-Cisneros Collection
CIFO Art Space, Miami │ December 6, 2006 - February 18, 2007
Curated by Juan Ledezma.
This exhibition traveled to the following location:
Haus Konstruktiv, Zurich, Switzerland
February 24 - May 1, 2011
Kunst- und Ausstellungshalle der Bundesrepublik Deutschland in Bonn, Germany
September 17, 2010 - Janaury 30, 2011
EsBaluard Museu d'art Modern i Contemporani de Palma in Palma de Mallorca, Spain
March 27 - June 20, 2010
Museum of Latin American Art (MOLAA) in Long Beach, California
November 8, 2009 - January 17, 2010
The exhibition intends to explore a rarely addressed aspect of Latin American abstract art: To what extent the simultaneous development of an abstract movement in different artistic centers (Argentina and Uruguay, Brazil, Venezuela) responded to the cultural and socio-political need of reconsidering, on the basis of modernist art, the prospect of a previously much-discussed Latin American identity.
Given such a broad scope, the exhibition proposes a series of intersections between developments mobilized by their own local histories. Those intersections coincide on a single node of inquiry: the constitution of a Latin American subject in the post-war period, a period during which the subcontinent experienced a process of economic and social development that necessarily involved shifts in the self-understanding of Latin American culture. Such topics raise the question on the specificity of Latin American abstraction. The exhibition provides an answer to that question by examining the region's emphasis on concrete art as a trait that distinguished local developments from those trends that characterized the abstract movement in the United States, a movement much more directed toward the dissolution of form in favor of what has been termed "opticality."
The exhibition's theoretical framework, on the other hand, attempts to relate Latin American concrete art to Russian Constructivism and Suprematism, movements informed by distinct political programs that proposed the reconstitution of a social, cultural and political identity on the basis of the reconstruction of collective vision. Following the historical development of Russian avant-garde art (abstraction, the object, the project of collectivity and the revolutionizing of public space), the exhibition's sections examine the coincidences and differences, both formal and historical, between these two modalities of abstraction.
Gertrudes Altschul, Carmelo Arden Quin, Geraldo de Barros, Hércules Barsotti, Ubi Bava, Martín Blaszko, Feliza Bursztyn, Sérgio Camargo, Amílcar de Castro, Willys de Castro, Lothar Charoux, Marta Chilindron, Lygia Clark, Horacio Coppola, Waldemar Cordeiro, Carlos Cruz-Diez, Eduardo Enfelt, Manuel Espinosa, Eugenio Espinoza, Thomaz Farkas, León Ferrari, Ivo Ferreira da Silva, Lucio Fontana, María Freire, Gasper Gasparian, Gego, Mathias Goeritz, Elsa Gramko, Ann Marie Heinrich, Carmen Herrera, Alfredo Hlito, Nelson Kojransk,Judith Lauand, Nelson Leirner, Julio Le Parc, Gerd Leufert, Germán Lorca, Raúl Lozza, Anna Maria Maiolino, Sameer Makarius, Ademar Manarini, Leo Matiz, Juan Melé, Alberto Molenberg, Mauricio Nogueira Lima, Hélio Oiticica, Alejandro Otero, Abraham Palatnik, Lygia Pape, Mercedes Pardo, César Paternosto, Claudio Perna, Paulo Pires, Lidy Prati, AlejandroPuente, Héctor Ragni, Luiz Sacilotto, Mira Schendel, Ivan Serpa, Antonieta Sosa, Jesús Rafael Soto, Grete Stern, Rubens Teixeira Scavone, Joaquín Torres-García, Alfio Trovato, Alfredo Volpi, José Yalenti.