An exhibition of one’s own: the Salón Femenino de Bellas Artes (Buenos Aires, 1930s-1940s)

From the late 1920s on, Buenos Aires witnessed the emergence of exhibition spaces of a separatist character for women artists. In spite of their importance, these regular shows have not received any attention from art history literature. Their vast development, the extensive coverage by the press, and their links to feminist institutions have gone completely unnoticed. Focusing on the Salón Femenino organized by the Club Argentino de Mujeres, the purpose of this article is to reconstruct the organization of these events, to examine their reception by art critics, and to analyze the careers of some of the participating women artists. These forgotten exhibitions offer a new perspective for the analysis of a period of intense feminine artistic activity in Argentina

Podría ser yo. Los sectores populares urbanos en imagen y palabra, Elizabeth Jelin y Pablo Vila con fotografías de Alicia D’Amico, Buenos Aires, Asunción, 2019, 153 páginas. Edición doble con un nuevo volumen de ensayos de Sergio Caggiano, Ludmila Da Silva Catela, Elizabeth Jelin, Francisco Medail, Juan Cruz Pedroni, Agustina Triquell y Pablo Villa, 112 páginas.

Podría ser yo. Los sectores populares urbanos en imagen y palabra, de Elizabeth Jelin y Pablo Vila con fotografías de Alicia D’Amico, Buenos Aires, Asunción, 2019, 153 páginas. Edición doble con un nuevo volumen de ensayos de Sergio Caggiano, Ludmila Da Silva Catela, Elizabeth Jelin, Francisco Medail, Juan Cruz Pedroni, Agustina Triquell y Pablo Villa, 112 páginas. La reedición de Podría ser yo. Los sectores populares urbanos en imagen y palabra, impulsada por la editorial especializada en fo..

La Chola desnuda de Alfredo Guido (1924): ficciones nacionales, ficciones femeninas

Since the 1970s on, the feminist critique of art history has changed radically the way we look at images. The first feminist art historians analyzed representations of the female, viewing it as a passive object at service of the male gaze. In this essay I propose a new reading of an iconic work of Argentine art: Alfredo Guido’s La chola desnuda (1924), attempting to resituate it in contemporary debates about women, nation and the arts. Instead of a figure offered to the avid eyes of a male spectator, the protagonist of the painting may well be interpreted as a visual commentary on the agency of women

Podría ser yo. Los sectores populares urbanos en imagen y palabra

La reedición de Podría ser yo. Los sectores populares urbanos en imagen y palabra, impulsada por la editorial especializada en fotografía Asunción, tiene la rara virtud de presentar un cuidadoso facsímil y, además, un segundo libro: un extenso volumen de ensayos sobre el libro. El proyecto de Podría ser yo recoge y analiza una serie de visitas a barrios populares de Buenos Aires y del Gran Buenos Aires, realizadas entre 1984 y 1986. La fotografía, a cargo de Alicia D’Amico, ocupó un rol centr..

Las bañistas autorstwa Raquel Forner: współczesne kobiety

Argentine painter Raquel Forner (1902-1988) has an outstanding place in the national art historical literature, where her work appears regularly from the founding narrative of critic and art historian José León Pagano in the late 1930s. Her double description as heroine of the avant-garde and as weaver of the antifascist flag has kept partially veiled her active participation in the construction of the various variants of the icon ography of the modern woman, a relevant topic in the Argentine art of the 1920s and 1930s. Far from the mourning women that have sustained her entry into the histories of national art, her modern women have strong bodies and powerful gestures. From a series of works associated with the figure of the bather, painted in 1928 and 1929, we will explore the visual construction of a modern femininity, interested in new activities and new scenarios. Far from being a peculiarity of Raquel Forner, this subject permeated the production of other artists who, in various media, dedicated themselves to unfold the visual characteristics of the new feminine appearance and of the social places recently opened to the women. From the celebrated photographer Annemarie Heinrich to the very little known painter Lucrecia Moyano, the concern with this subject was commonplace for many women artists of the 1920s and 1930s.Argentyńska malarka Raquel Forner (1902–1988) zajmuje wybitną pozycję w krajowej literaturze historycznej. Jej twórczość pojawia się tam regularnie od momentu utworzenia narracji założycielskiej stworzonej przez historyka sztuki José Leóna Pagano pod koniec lat 30. XX wieku. Przypisywana jej podwójna rola – bohaterki awangardy i twórczyni flagi antyfaszystowskiej – po części przesłania jej aktywny udział w konstruowaniu różnych wariantów ikonografii współczesnej kobiety, tematu odgrywającego ważną rolę w argentyńskiej sztuce lat 20. i 30. XX wieku. W odróżnieniu od rozpaczających niewiast, które przetrwały w narodowej historii sztuki, jej kobiety mają silne ciała i potężne gesty. Na podstawie serii prac związanych z postacią kąpiącej się kobiety, namalowanych w latach 1928 i 1929, przebadana została wizualna konstrukcja nowoczesnej kobiecości, zainteresowana nowymi działaniami i nowymi scenariuszami. Temat ten, będący początkowo domeną twórczości Raquel Forner, z czasem przeniknął do dzieł innych artystów, którzy – korzystając z różnych mediów – poświęcili się rozwijaniu cech wizualnych nowego kobiecego wyglądu i nowej pozycji kobiety w społeczeństwie. Temat ten był powszechnie podejmowany przez wiele artystek w latach 20. i 30. Odnajdujemy go nie tylko w pracach znanej fotografki Annemarie Heinrich, ale także w dziełach mało znanej malarki Lucrecii Moyano

Latin American networks: Synchronicities, Contacts and Divergences.

Understanding originality and innovation to be proposals that contribute to the interpretation of change and to the formation of a transnational field of art and visual culture from Latin America, this dossier for Artelogie investigates tensions between the historical avant-gardes of the early twentieth century, both in Latin America and Europe, and the neo avant-gardes that emerged globally between 1960 and 1990, approximately. The relationship between these vanguards has been fraught by theoretical and methodological difficulties posed by scholarly literatures that have assessed these phenomena, themselves by no means homogenous or coordinated, mostly in terms of derivation and creative exhaustion. This assessment has originated from the so-called centers of the art world and early universalist theories of the avant-garde rather than from their local places of art making and its circulation. These largely Eurocentric claims have foreclosed analysis of the historical significance of key moments in postwar art and their critical and innovative potential in comparative terms. The reappearance of collage and assemblage, and of grid and monochromatic painting, to name only a few avant-garde techniques, was a self-reflexive return, offering a critique of postwar societies. Neo avant-gardes consciously forged formal and informal networks that linked colleagues and strategies beyond their local scenes or nationalist histories. With this dossier we seek to investigate temporal, spatial, formal, and thematic synchronicities that emerge from both contact and divergence among artworks, artists, critics, curators, and other cultural agents. Through their critical comparison we expect to produce conceptualizations of postwar art history that generate and invert rather than merely add to dominant narratives to date