Reflections on the painting of Alejandro Puente, the notion of <i>Pathosformel</i>, and the return to life of mortally wounded civilizations

The Argentine author José Burucúa is a key figure in the introduction and dissemination of Aby Warburg's theories to scholarship in Latin America. In this article he tests Warburg's concept of Pathosformel to discuss the development of visual culture in Andean pre-Hispanic art and contemporary painting in Argentina. It is argued that the abstract world created by prominent painters, such as Libero Badii, César Paternosto, and Alejandro Puente, deepened their roots in pre-Hispanic culture. Burucúa's theoretical approach to the arts in Argentina has been highly influential on visual culture studies in Latin America

Parallel modernities. Notes on artistic modernity in the Southern Cone of Latin America: The case of Paraguay

The author of this article is one of the most important intellectuals in the Latin American artistic scene. Focusing on the particular case of Paraguay, which was governed by the dictatorship of Alfred Stroessner from 1954 until 1989, Escobar traces the modernist impulse in Paraguay and traces its complicated and disturbed relationship with European and North American models and antecedents: Neo-Impressionism, Cubism, Expressionism, Abstraction, and similar. While they reflect the particular political conditions under which the artists worked, the diverse and many-voiced Paraguayan responses also offer an exemplary set of responses that shed light on the development of twentieth-century modernist art and visual culture across the broader South American continent

Exchanging Glances: art in the International Exhibitions in Argentina (1882-1910)

Focusing on the international expositions that took place in Buenos Aires in 1882 and 1910, this article reveals and analyzes the discourses on Argentine national identity at national and international level. Art criticism was used as an agency for the redefinition of the nature and character of the Argentine in the context of local, regional, and European centers of economic and cultural power. The analysis is based on key primary material and informed by insights derived from social history and postcolonial theory. It offers a stimulating perspective on constructs of modernity in Latin America, on the relationships between center and periphery, and on art in the Argentine between 1882 and 1910