Polski Instytut Studiów nad Sztuką Świata [Hrsg.]
Sztuka Ameryki Łacińskiej: studia o sztuce kolonialnej, nowoczesnej i współczesnej — 8.2018

Seite: 46
DOI Heft: DOI Artikel: DOI Seite: Zitierlink: 
https://digi.ub.uni-heidelberg.de/diglit/aal2018/0050
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Juan Pablo Pérez

Bibliografía
Aries 2007 [1975] - P. Aries, Morir en Occidente. Desde la Edad Media hasta
nuestros días, Buenos Aires 2007. [1975]
De Santis 2006 - D. De Santis, A vencer o morir. Historia del PRT-ERP docu-
mentos, 1.1, Buenos Aires 2006.
D’Hondt 1974 - R. D’Hondt, “New Reform”, n.22, 1974.
García Canclini 2001 [1990] - N. García Canclini, Culturas Híbridas. Es-
trategias para entrar y salir de la modernidad, Buenos Aires 2001.
[1990]
MariÁtegui 1972 [1924] - J. C. Mariátegui, Ideología y Política Amanta, Lima
1972. [1924]
Santucho 1956 - E R. Santucho, Dimensión Revista Bimestral de Cultura y
Crítica, “América como conciencia”, n.4 (1), 1956.

Summary
To ritualize death. Latin American identities in the conceptual practices of
Alfredo Portillos
How to reinterpret Latin American identity discourses which were present in the
artistic and political practices of the 1970s? How to revaluate their achievements
and reinterpret them in the neo-liberal and globalized world of the 1990s, based
on selected aesthetic propositions of an Argentinian artist, Alfredo Portillos? How
are the emancipatory powers of such practices reactivating and functioning in the
contemporary context? The proposed theoretical reflection on the artistic activi-
ty of Alfredo Portillos aims at reinterpreting the processes of circulation, valorisa-
tion and reception of some works which were omitted during creation of a histo-
riographic account of “Grupo de los Trece” and then CAyC (Buenos Aires). The
proposed reflections refer to different scopes of regional aesthetics in search for
identity in Latin America and their connections with various political contexts.
The narrative identity was accepted by the artist for the first time in 1973, when
during the fourth edition of “Salón Premio Paolini”, he presented a work show-
ing an acrylic hermitage. A title of the work, which appeared in the catalogue
of “Funerary urn of those who died for liberation of Latin America” (Urna fu-
neraria de los caídos por la Liberación Latinoamericana), was very meaning-
ful. This first semantic and conceptual proposition, including curiosity of matter
characteristic of folk religiosity has become an element present in all the rituals
presented by Alfredo Portillos (also in the latest one).

transí. Malgorzta Lesniak
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