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17/11/2013

America Latina 1960 - 2013

Fondation Cartier, Paris

From November 19, 2013 to April 6, 2014, the Fondation Cartier pour l’art contemporain will present América Latina 1960-2013, coproduced with the Museo Amparo in Puebla (Mexico). The exhibition will offer a new perspective on Latin American photography from 1960 to today, focusing on the relationship between text and the photographic image.
Bringing together more than seventy artists from eleven different countries, it reveals the great diversity of photographic practices by presenting the work of documentary photographers as well as that of contemporary artists who appropriate the medium in different ways.
This unique presentation will provide the visitor with the opportunity to delve into the history of the region and to rediscover the works of major artists rarely exhibited in Europe.

Latin America : a Fascinating Region
Over centuries, Latin America has fascinated observers as much as it has mystified them; there is a sense of the exotic that derives perhaps from it having once been perceived as a “new world.” Today, while contemporary Latin American culture has received much attention, the historical circumstances surrounding its production are often less widely explored. The exhibition América Latina will cover the period from 1960 – the year following the Cuban revolution – to today. In many Latin American countries, this period has been marked by political and economic instability, and has seen a succession of revolutionary movements and repressive military regimes, the emergence of guerilla movements as well as transitions toward democracy. By exploring the interaction between text and image in the art of Latin America over the course of the last fifty years, the exhibition provides a vivid look into this tumultuous period of history through the eyes of the artists.

Photography and Text in a Shifting World
During the era covered by the exhibition, when the climate of political upheaval required an urgent response, many Latin American artists increasingly sought to escape media specificity by bringing text and image together in their work. This new visual approach provided them with an effective tool for expressing themselves and communicating, as photography is a medium that rapidly and realistically records reality while text provides a way of expanding or altering the meaning of the image. Through these formalistic inventions the artists tried to portray the complexity and violence of the world around them and in some cases to sidestep censorship. In the 1980s the Chilean artist Eugenio Dittborn created ‘‘airmail paintings’’ which were folded up and sent all over the world, circumventing Chile’s cultural isolation under Pinochet. As for Miguel Rio Branco, a figurehead of Brazilian photography, he has depicted the underclass of a two-tiered society in a highly poetic manner.

Artists
Elías Adasme (Chili), Carlos Altamirano (Chili), Francis Alys (Mexique), Claudia Andujar (Brésil), Antonio Manuel (Brésil), Ever Astudillo (Colombie), Artur Barrio (Brésil), Luz María Bedoya (Pérou), Iñaki Bonillas (Mexique), Oscar Bony (Argentine), Barbara Brandli (Venezuela), Marcelo Brodsky (Argentine), Miguel Calderon (Mexique), Johanna Calle (Colombie), Luis Camnitzer (Uruguay), Bill Caro (Pérou), Graciela Carnevale et le Grupo de Artistas de Vanguardia (Argentine), Fredi Casco (Paraguay), Guillermo Deisler (Chili), Eugenio Dittborn (Chili), Juan Manuel Echavarria (Colombie), Eduardo Rubén (Cuba), Felipe Ehrenberg (Mexique), Roberto Fantozzi (Pérou), León Ferrari (Argentine), José A. Figueroa (Cuba), Flavia Gandolfo (Pérou), Carlos Garaicoa (Cuba), Paolo Gasparini (Venezuela), Anna Bella Geiger (Brésil), Carlos Ginzburg (Argentine), Daniel Gonzalez (Venezuela), Jonathan Hernandez (Mexique), Graciela Iturbide (Mexique), Guillermo Iuso (Argentine), Alejandro Jodorowsky (Chili), Claudia Joskowicz (Bolivie), Marcos Kurtycz (Mexique), Suwon Lee (Venezuela), Adriana Lestido (Argentine), Marcos Lopez (Argentine), Pablo Lopez Luz (Mexique), Rosario Lopez Parra (Colombie), Lost Art (Brésil), Jorge Macchi (Argentine), Teresa Margolles (Mexique), Agustín Martinez Castro (Mexique), Marcelo Montecino (Chili), Oscar Munoz (Colombie), Hélio Oiticica (Brésil), Damián Ortega (Mexique), Pablo Ortiz Monasterio (Mexique), Leticia Parente (Brésil), Luis Pazos (Argentine), Claudio Perna (Venezuela), Rosângela Renno (Brésil), Miguel Rio Branco (Brésil), Herbert Rodriguez (Pérou), Juan Carlos Romero (Argentine), Lotty Rosenfeld (Chili), Graciela Sacco (Argentine), Maruch Santiz Gomez (Mexique), Vladimir Sersa (Venezuela), Regina Silveira (Brésil), Milagros De La Torre (Pérou), Susana Torres (Pérou), Sergio Trujillo Davila (Colombie), Jorge Vall (Venezuela), Leonora Vicuna (Chili), Eduardo Villanes (Pérou), Luiz Zerbini (Brésil), Facundo DE Zuiviria (Argentine)

Curators
Ángeles Alonso Espinosa, Hervé Chandès, Alexis Fabry, Isabelle Gaudefroy, Leanne Sacramone et Ilana Shamoon

Image: Marcelo Montecino (Chili, né en 1943). Managua, 1979 © Marcelo Montecino

Press contact:
Matthieu Simonnet Tel. 01 42185677 / 65 e-mail presse@fondation.cartier.com

Vernissage monday 18th november 2013

Fondation Cartier pour l'art contemporain
261, boulevard Raspail 75014 Paris
Open every day, except Monday, from 11 a.m. to 8 p.m.
Open Tuesday evenings until 10 p.m.
Closed on Mondays
Closed on December 25 and January 1
Rates
Entrance fee: 10.5 euros
Reduced rate: 7 euros
(Students, visitors under 25, "carte Senior" holders, unemployed and visitors receiving benefits, "Maison des Artistes", ministère de la Culture, Amis des Musées)
Free (except Nomadic Nights): Children under 13, Visitors under 18 on Wednesdays, "Laissez-passer pass" holders, ICOM members, press card, and disabled visitors.

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