Tag Archives: indigenism

Call for contributions: The idiosyncrasy of indigenism in Latin America. Plurality of sources and extra-Latin American appropriations

marina-nunez-del-prado-plegariaCall for contributions: Artelogie Journal, ‘The idiosyncrasy of indigenism in Latin America. Plurality of sources and extra-Latin American appropriations’
Deadline: March 30, 2018

Coordinated by Michele Greet (George Mason University), Anahi Luna (UNAM, Mexico), Fernanda Sarmento (Sao Paulo University), Elodie Vaudry (Paris Nanterre University)

In the mid-1920s, Peruvian intellectual José Carlos Mariátegui introduced the term “indigenism” and defined it as a Latin American avant-garde trend that manifested as a literary genre, a political ideology, and an artistic classification. Nevertheless, as Michele Greet demonstrates in Beyond National Identity: Pictorial Indigenism as a Modernist Strategy in Andean Art, 1920-1960, indigenism is also the result of a paradoxical dialectic between the national and the international spheres. This “negotiation” between the national and the international is at the heart of the problem to be addressed in the next issue of Artelogie, which invites investigations of this Latin American trend as a strategy of transculturation between Latin America and the rest of the world. Mainly studied as a centripetal movement in Latin America, we propose a consideration of indigenism as a centrifugal, plurisecular and cross-cultural phenomenon.
Indeed, it seems that in foreign cities such as Paris, indigenism was also constructed and deployed in a transnational way in response to political and cultural schema. In the 20th and 21th centuries, Europe and then the United States, among others regions, were the locations where indigenism found its intellectual, political and visual inspiration and/or the cites, where it could find its purpose. Consequently, in the post-war period, Ecuadorian Oswaldo Guayasamín (1919-1999) defends the Indian in paint via a re-reading of the works of Picasso and Bernard Buffet. Sculptors such as Marina Núñez del Prado (1910-1992), architects such as Pedro Ramírez Vásquez (1919-2013), musicians such as Theodore Valcárcel (1900-1942) also appropriate methods, techniques, and materials from outside Latin American to design buildings and compose melodies in support of the Native American cause. To these examples, we can add of course the appropriations of native traditions, in particular those from the Amazon, as well as multiple contemporary creations, both in the field of design and the visual arts.
By approaching Latin American and European art history within the framework of a simultaneously conflictive and collaborative modernity, rather than “opposing insular nationalism and alienating internationalism,” this cultural history project would reveal their common dynamics and highlight the diachronic and diasporic hybridization of contemporary visual culture. The purpose is thus to approach indigenism – or indigenisms – chronologically from the 20th to the 21st century. The aim is to analyze its construction as it has been elaborated outside of the borders of Latin America, in travel to and from foreign countries and nations with cultural indigenism and in connection with other contemporary movements addressing or related to identity politics.

Exploring the productive tensions surrounding indigenist art and considering different perceptions of this long cultural history will facilitate a rethinking of the fights for representation and self-representation undertaken by diverse cultures in Latin America. Moreover, we could correlate these analyses with other cultural phenomena dealing with identity formation, such as those in North America, Oceania and Africa.

The theme of this forthcoming issue of Artelogie deals with transfers between cultures, which are very different at different moments in history – – i.e. the pre-Colombian era- and in the space. Thus, a multidisciplinary approach seems essential, linking art history, the history of the ideas, and anthropology. In this study it is also necessary to consider the themes of political, diplomatic, and economic exchange between France and Latin American countries.

Suggested themes:

– How dialogue(s) between ” western culture ” and native groups took place
– Sources – models and counter-models – of indigenism outside Latin America
– Inversions: native portraits through the eyes of Westerners / Westerners portraits through the eyes of natives
– Indigenism and the artistic avant-garde, processes of appropriation and fracture
– Cites of the formation of indigenism outside Latin America
– How the diasporic processes of indigenism in the 19th and 20th centuries served the internal politics of Latin America
– Model and counter-model: indigenism as a reaction to and an appropriation of western models
– How the processes of hybridization interact with the concepts of heritage, tradition and innovation
– Native artistic expressions that reflect cultures founded on other values and beliefs, what are the ways to validate and interact with this diversity?

How to apply: 

-Deadline for official acceptance of original unpublished work: 30th of March 2018
– Total length of the text: characters (no more than 50000 characters or 35 pages), including title, authors’ bibliographic data and e-mails, summary, introduction, all other paragraphs considered appropriate, conclusion, acknowledgements (if necessary) and references.
– Please follow closely the style guide for authors of Artelogie: https://artelogie.revues.org/621
– Please send articles to: artelogie@gmail.com

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Thinking Ibero-America: Modernity and Indigenism

juandowneyThinking Ibero-America: Modernity and Indigenism,’ Birkbeck, University of London,

Malet St, Bloomsbury, WC1E 7HX, 23/11/2017, 6:30 pm – 8:30 pm

Ticio Escobar in conversation with John Kraniauskas

Under the dominance of European and then Creole elites, the people of Latin America have historically looked to Europe and North America as referents for cultural modernity. Until recently, everything related to indigenous people and culture was associated with the idea of underdevelopment. However, with globalisation, contemporary cultural discourses have begun incorporating notions of diversity, difference, inclusion and cultural rights; this allows for the articulation of new critical visions such as that of Paraguayan Ticio Escobar.

A lawyer, curator, teacher, art critic and cultural promoter, Ticio Escobar was Minister of Culture of Paraguay (2008-2012). Prior to that, he was Director of Culture of the Municipality of Asuncion (1991-1996) and founder of the Museum of Indigenous Art. He is the author of the National Law of Culture of Paraguay and President of the Paraguayan Section of the International Association of Art Critics. He has published numerous books on Paraguayan and Latin American art. He currently directs the Centro de Artes Visuales/Museo del Barro in Asunción.

John Kraniauskas is Professor of Latin American Studies at Birkbeck (UL). Expert in literature and cultural studies, he is the author of numerous essays and translations. His latest book is Capitalism and its Discontents: Power and Accumulation in Latin American Culture (University of Wales Press, 2017). He met Ticio Escobar on a trip to Paraguay during the days of Stroessner, as a member of the Parliamentary Group on Human Rights.

The Thinking Ibero-America cycle is a cooperation between the Instituto Cervantes and Canning House, with the collaboration of the Center for Iberian and Latin American Visual Studies (CILAVS), Birkbeck, University of London, and Birkbeck Institute of the Humanities (BIH).

The event will be held in the Clore Lecture Theatre, Birkbeck, University of London (access through Torrington Square).

In Spanish and English.