BRUMARIA -artistic, aesthetic and political practices
Latin-American Video Art. A Critical View
(Segnalato da F.Bonazzi)
Latin America has been widely neglected in North American and European history of video art. In fact, not even Spanish video art has taken it into account.
Until now, there have been numerous partial histories written about this artistic practice in each country, but there is not one publication that brings them together. Thus, we have considered it fundamental to give a global view of Latin American video art built through the peculiarities and conceptual divergences of the creative processes of each country.
The publication of these essays aims at filling this gap and it will interest a broad sector of the cultural world, be it artists or researchers. On the one hand, because it exposes both the history and the work of all the emerging artists; on the other hand, because the interest on what is produced at a national level is inevitably linked to and associated with what is produced in other countries that are culturally related, favouring the cultural exchange among Latin American countries.
Latin-American Video Art. A Critical View gives a panoramic and analytical critical view of the trajectory of video art practice in Latin America, bringing together its history and the most recent practices. This book contains a series of essays written by notorious art critics and researchers specialized in video art in their respective countries.
CONTENTS : Participants and Topics
- Laura Baigorri, ’Video in Latin America, interweaving memories’
- Rodrigo Alonso, ‘Towards a genealogy of Argentinean video art ‘
- Graciela Taquini, ‘A chronicle of video art in Argentina. From the transition to the digital era’
- Cecilia Bayá Bolti, ‘Video art in Bolivia ‘
- Arlindo Machado, ‘The art of video in Brazil ‘
- Lucas Bambozzi, ‘The exploded video and its fragments floating above us (Brazil)’
- Alanna Lockward, ‘Desolutions and juxtapositions: Echoes for a polyphonic tale of video art from Haiti, Puerto Rico and Dominican Republic’
- Ernesto Calvo, ‘Video art in Central America? eppur se mueve’
- Néstor Olhagaray, ‘Brief review of the history of video art in Chile’
- Gilles Charalambos, ’Videoartistic Colombia. Basic notes on certain problematic aspects of video art
- Marialina García Ramos & Meykén Barreto Querol, ‘X-ray of an indocile image. (Diagnosis for tracing history of video art in Cuba)’
- María Belén Moncayo, ‘Ecuador: medial imprints from the non-place’
- Raúl Moarquech Ferrera-Balanquet, ‘Transnational Latin video art in USA – Canada: 1960-2007’
- Sarah Minter, ‘As a bird’s flight, video in Mexico: its origins and its context’
- Fernando Llanos, ‘Contemporary Mexican video: a day without a yesterday and a yesterday with
- Fernando Moure, ‘Paraguayan soup. A hybrid cookbook for a videography’
- José-Carlos Mariátegui, ‘Video art days. An intense decade of video art in Peru.’
- Enrique Aguerre, ‘Video’s condition 2.0 (25 years of video art in Uruguay)’
- Benjamín Villares Presas, ‘Video art in Venezuela. Four generations of audiovisual art’
This issue of Brumaria has been sponsored by:
Agencia Española de Cooperación Internacional para el Desarrollo