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The Avant-Garde and Latin-American Photography.

Miami, FL, October 31, 2014 --( The images included in “The Avant-Garde and Latin-American Photography: The Poetics and Discourse of the Modern Gaze,” date from the 1930s until the early 21st century. Artists include Ruven Afanador, Manuel Alvarez Bravo, Hugo Brehme, Martin Chambi, Emilio Jose Chamont, Valdir Cruz, Alberto Diaz Gutierrez (Korda), Hector Garcia, Flor Garduno, Luis Gonzalez Palma, Pepe Hanze, Graciela Iturbide, Guillermo Kahlo, Luis Mallo, Tina Modotti, Nickolas Muray, Antonio Reynoso, Sebastiao Salgado, Javier Silva, Bernard Silverstein, Pablo Soria, Edward Weston, and Mariana Yampolsky. Their countries of origin include Argentina, Brazil, Colombia, Cuba, Ecuador, Guatemala, Mexico and Peru, as well as Germany, Italy, and the United States.

The exhibition, curated by the independent art critic and curator Dennys Matos, traces two directions that answer to a curious poetic and discursive conjunction between realism and the photographic avant-garde in Latin America: Bodies and Faces (Cuerpos y Rostros) and Landscapes: From the Rural to the Urban (Paisajes: de lo rural a lo urbano). In both we can detect a conjunction between, on the one hand, an exploration of realism as the search for a faithful depiction of reality, whose images begin to create a modern gaze over the multiple and contradictory Latin American cultural identity, and on the other, the social space as manifestation of the tensions between individual and society, history and myth. But it also assumes the conflicts inherent in human urges, desires and repressions, whose spirit is openly transgressive, and as such, opposed to “the state of the real.” Accordingly, the selection of photographs encompasses several genres, including the portrait, the landscape and documentary. What emerge are a number of groupings that find surprising correspondences between artists whose diverse poetics and discourses confront and connect to each other. These demonstrate the richness, expressiveness, imagination and singularity of this magnificent group of photographs as expression of the modern gaze on the lived reality of Latin America.

“The Avant-Garde and Latin-American Photography: The Poetics and Discourse of the Modern Gaze”, activates through its images a vision of modernity that presents and celebrates an ethno racial reality that resists positivist models of classification. These images construct a discourse on modernity that reflects on the profound hybridism of Latin American culture, from the Caribbean to Tierra del Fuego, that points as much to the region's natural wealth as to its material and spiritual history. Graven in these images are its colonial past as well as its postcolonial history, as a gaze that interrogates and reveals the variety and complexity of the differing advances achieved in the construction of Latin American modernity.

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Date:Oct 31, 2014
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