visual arts latino freezine
visual arts latino freezine



María María Acha-Kutscher

Tomás Ruiz-Rivas

María María’s collages have a quality that sets them apart from those of her predecessors: verisimilitude. When we single out a particular piece from the Womankind series, we feel a strangeness that we cannot identify. The images appear real, but something is out of place. It is the woman. The women who are the protagonists in her collages are not where they should be.
jan/3/2014; spanish, english; tags=feminisms
foto: Les Spectaculaires, Mademoiselle Gabrielle "The Half Woman", María María Acha-Kutscher

american photography's mother

María María Acha-Kutscher

Gertrude Käsebier's work is a mirror image of her life process. Despite of her recurring theme is motherhood, where family and friends pose for her, as soon Gertrude starts to emancipate, her look expands outwards.
jan/10/2014; spanish;
foto: Zitkala-Sa (Red Bird), Gertrude Käsebier 1898

a paradise of porcelain

María María Acha-Kutscher

Antemann Chris's work is inspired by the porcelain figurines of the 18th century, she builds complex and sophisticated scenarios where shown, with exquisite taste, parodies of the traditional of male and female relationship roles. Characters, themes and incidents overlay upon each other, forming their own language that speaks about seduction rituals, domestic rites, social etiquette and taboos.
11/dec/2013; spanish; tags=feminisms
foto: Buffet, Chris Antemann

Left Hand Rotation

Tomás Ruiz-Rivas

"Gentrification isn’t a lady's name" was a right project from the beginning, because it was started as a workshop, not as any kind of their own artistic proposal, and that allowed them to build up a very rich and diverse body of practices and theories, free from these conditions imposed by working with the final objective of producing art works. Activities and interventions of each workshop, in the first series, are discrete, adjusted to the framework that has been given in every situation, but read all together they offer a complex view of gentrification and these new stages of class struggle.
1/dec/2013; spaish; tags= review; city
foto: La Perse no está en venta, Left Hand Rotation.

A video of Fredi Casco and Renate Costa

Tomás Ruiz-Rivas

Throughout the video there is a narrative around politics. An omnipresent story talking about dictatorships, economic crises, social and cultural conflicts, and a form of resistance from the visual arts. It may not be intentional, but rather that's Latin America.
jan/3/2014; spanish; tag=review
foto: Marcos López Le carnet de route de Fredi Casco.


Simon Sheikh

When establishing the artworld as a particular public sphere, we must explore this notion along two lines; firstly as a sphere that is not unitary, but rather conflictual and a platform for different and opposionary subjectivities, politics and economies: a 'battleground' as defined by Pierre Bourdieu and Hans Haacke. A battleground where different ideological positions strive for power and sovereignty. And, secondly, the artworld is not an autonomous system, even though it sometimes strives and/or pretends to be, but regulated by economies and policies, and constantly in connection with other fields or spheres...
10/nov/2013; spanish; tags=museum

the precursor photographer of Eco-Feminism

María María Acha-Kutscher

Brigman self-proclaimed pagan. In her photographs we can see influences of mythology, of European Romanticism and her childhood exposure to the native beliefs of the Hawaiian people. Anne Brigman was one of the first women to photograph female nudes in a wilderness landscape. A female nude out of the gace and the delight of man, because here the images tell us about the greatness and universality of nature in connection with the woman and creation.
5/dec/2013; spanish; tags=feminisms
foto:The Cleth in the Rock, Anne Brigman 1907.

or the Museum as Degenerate Utopia

Travis English

In this system of exchange, art becomes commodity, however much the museum – and the corporation, albeit to an arguably lesser extent -- would like to conceal it. Haacke’s work focuses on the system of exchange between the museum and the corporation and the commodification of art that takes place within this circulation. Given that this system of relations between museums and corporations is a fairly recent development, should it change our conception of the space of the museum, from a space devoted to the timeless spiritual qualities of the aesthetic to a space devoted to capitalist exchange?
3/dic/2013; spanish; tags=museum

from Eduardo Gil's gaze

Tomás Ruiz-Rivas

The best and most popular among the photographs that are exposed at the MUAC is showing us a series of silhouettes pasted on a wall, we see a total of seven but we can imagine that there are more, guarded by two policemen, strangely symmetrical, looking outside our field of view, each to one side, to something or someone that we can not guess. In a twist that makes it a more enigmatic image, the silhouettes are pasted on billboards whose header says: POWER.
19/nov/2013; spanish; tags=review
foto: El Siluetazo, Eduardo Gil.


Tomás Ruiz-Rivas

It is noteworthy that we have not yet critical tools to interpret and locate in our art history of the period 1939-1955, and that we still leaving a gap between the cultural ferment of the Second Republic and the reappearance of modernity in the mid 50s. Despite near critical models, like German, there is little analysis of the dictator's portrait, graphic design and illustration in Falange's magazines, or about this idea, more proper to Berlanga's a comedies, to melt Catholic tradition and fascist modernity by design-angels.
23/nov/2013; español; tags=memoria
foto: Cruzados del siglo XX, Arturo Reque Meruvia "Kemer".


Tomás Ruiz-Rivas

Discussion about the Museum is being reactivated due to a series of profound changes in both the own dynamics of the institution, including its slow assimilation to cultural industries and a growing dependence on the market, such as the transformation of the city, which takes new values​in globalization process, or these of the artist and curator figures, who are interiorizing the category of cultural entrepreneur with consequences that will come to have far-reaching ...
10/nov/2013; spanish; tags=museum

The "The Withouthat" in Madrid of the twenties

Gloria G. Durán

For "The Withouthat", the Spanish avant-garde women, Maruja Mallo, Margarita Manso and Concha Mendez, the act of not wearing hats and many other actions conducted or reported during his life will be, on the one hand, part of their work and on the other, a way consciously sought to have visibility and public voice; visibility and voice denied them even the most modern circuits, and intellectualized, in the golden Madrid of the 20s.
10/nov/2013; spanish; tags=feminisms
foto: Performace Sinsombrero, Gloria G. Durán

a documentary film by Günter Schwaiger

Marta suffered years ago the brutal assault of her ex-husband and was about to die. Now her attacker has been released from prison and is sure he will try again.
In her home where she hides she shows us her day to day struggle to overcome the trauma and fear.
Harald, psychotherapist's consulting to men "MännerWelten" helps violent men to leave male violence and analyzes the possible causes. The testimony of one of these men takes us into the deepness of his violence ...
25/nov/2013; spanish; tags=notice
foto: La Maleta de Marta Günter Schwaiger.

a documentary film by Cecilia Barriga

"Three instants, one cry" is a documentary film which raises from the fascination for spontaneous drift of a global and outraged citizenship, which eventually merges with the desire and the strength of a single cry against capitalism: We are going to change this system!
19/nov/2013; spanish; tags=notice
foto: Ceclia Barriga.

1969 - 2013

Giuseppe Campuzano was one of these truly unique artists, and also mestizo and transvestite. He bore on his/her skin the wildest inscriptions of otherness, and therefore she/he never established boundaries between art and life. His/her cross-dressing was not performance, was her/his only form of performativity. She/he died in early November in Lima, leaving us his/her incomparable Museo Travesti del Peru.

10/nov/2013; spanish; tags=notice

foto: Nación Travesti Giuseppe Campuzano.