- Activismo, Arte Latinoamericano, Arte contemporáneo, Conceptual Art, Latin American Art, Contemporary Latin American Art, and 15 moreArt History, Material Culture Studies, Participatory and Relational Arts, Performance, Travelling artists, New Media, Contemporary Art, Archives, Mail Art Archives, Mail Art, Archives and Art, Archiving, Spatial Theory, Postestructuralismo, and Modernity/coloniality/decolonialityedit
- Pablo Santa Olalla has an APIF-UB scholarship from the Department of Art History at the University of Barcelona, where teaches the subject “Artistic Languages”. He has a BA degree in Fine Arts and MA degree in Advanced Studies in Art History, both from the University of Barcelona. As a researcher, Pablo is currently working in a PhD thesis about the relat... morePablo Santa Olalla has an APIF-UB scholarship from the Department of Art History at the University of Barcelona, where teaches the subject “Artistic Languages”. He has a BA degree in Fine Arts and MA degree in Advanced Studies in Art History, both from the University of Barcelona. As a researcher, Pablo is currently working in a PhD thesis about the relational networks between the conceptualist art practices in Latin america and Spain, within the framework of the Research Group Art Globalization Interculturality (AGI) and the Research Project Decentralized Modernities: Art, politics and counterculture in the transatlantic axis during the Cold War [MoDe(s)]. His interests lie in the conceptualist art practices, the transition between modernity and postmodernity —and beyond—, sociology of the arts, network and system theories, post and decolonial studies, visual culture and the linkages between art and context. Pablo is also interested in curating and archiving art. He collaborates with the Muntadas’ Archive (ARXIU/AM) for more than three years, and takes part of the On Mediation Seminar as technical assistant and coordinator. His writings have been published in ArtNodes, Boletín de Arte, postpostpost.org and InterARTive, and recently have appeared within the book Dolor, represión y censura política en la cultura del siglo XX, published by the University of Granada — chapter: “Conceptualismo y dictadura: un corte desde Latinoamérica y España”.edit
Research Interests:
ESP / Este artículo aborda, desde un enfoque de cultura material, la relación entre la periodización transdisciplinar de la Jet Age y las prácticas artísticas conceptualistas en el espacio sud-atlántico. Se historia la relación de estos... more
ESP / Este artículo aborda, desde un enfoque de cultura material, la relación entre la periodización transdisciplinar de la Jet Age y las prácticas artísticas conceptualistas en el espacio sud-atlántico. Se historia la relación de estos fenómenos sociopolíticos y culturales con la Guerra Fría, y se atiende a las transformaciones del campo artístico que, teniendo origen en el periodo de estudio, tienen efecto en el arte actual. Se propone una reterritorialización de las prácticas conceptuales de España y Latinoamérica respecto al campo del arte y su teoría generales, llevada a cabo mediante la revisión de casos de estudio que incluyen a los agentes artísticos On Kawara, Antoni Muntadas, Carlos Ginzburg, Lucy Lippard y Jorge Glusberg.
ENG / This paper addresses the relation between the transdisciplinar periodization of the Jet Age and conceptualist artistic practices in the South-Atlantic space, from the perspective of material culture. It historicizes the linkage of these sociopolitical and cultural phenomena with the Cold War, taking note of the transformations in the artistic field which, while initiated in the period of study, have also some repercussions on contemporary art. This text proposes the reterritorialization of conceptual art practices from Spain and Latin America in relation to the general art field and its theories. It does so through the revision of case studies based on the artistic agents On Kawara, Antoni Muntadas, Carlos Ginzburg, Lucy Lippard and Jorge Glusberg.
ENG / This paper addresses the relation between the transdisciplinar periodization of the Jet Age and conceptualist artistic practices in the South-Atlantic space, from the perspective of material culture. It historicizes the linkage of these sociopolitical and cultural phenomena with the Cold War, taking note of the transformations in the artistic field which, while initiated in the period of study, have also some repercussions on contemporary art. This text proposes the reterritorialization of conceptual art practices from Spain and Latin America in relation to the general art field and its theories. It does so through the revision of case studies based on the artistic agents On Kawara, Antoni Muntadas, Carlos Ginzburg, Lucy Lippard and Jorge Glusberg.
Research Interests:
Clemente Padín (1939) is a uruguayan artist known for his Mail Art activism. He has worked not only on visual poetry and postal consignments, but also on propositional artists’ books and performances. Mieke Bal’s theorizations around... more
Clemente Padín (1939) is a uruguayan artist known for his Mail Art activism. He has worked not only on visual poetry and postal consignments, but also on propositional artists’ books and performances. Mieke Bal’s theorizations around performance and performativity underpin this article, which is focused on the often forgotten actionist dimension of the Padín’s oeuvre. His artworks from the seventies departed from visual poetry towards a language of action. Four of his most relevant pieces will be examined: the Inobjetal experiences (1971), the performance O artista está a serviço da comunidade (1974), the book De la représentation a l’action (1975) and the booklet Hacia un lenguaje de la acción (1977).
Research Interests:
This International Seminar revolves around the notion and practice of what Hungarian artist György Galántai calls “active archives”. Born as underground cultural institutions in the 1970s and 1980s, the active archives not only assumed... more
This International Seminar revolves around the notion and practice of what Hungarian artist György Galántai calls “active archives”. Born as underground cultural institutions in the 1970s and 1980s, the active archives not only assumed the passive role of preserving the memory of artistic practices invisible to the official art system, but also activated, fed and fed back on these practices, serving as nodes or intersectional points in a constant collective exchange within the international networks of mail art. The archival institution itself became thus a self-referential artistic practice, performative and conceptual in nature, altering the relationship between artistic creation and knowledge creation, and demanding new ways of thinking about, describing and exhibiting art, as well as the social processes associated with it.