Interviews

C.F.: I’d like you to tell us about your intellectual training and the ideas that appear in your work, which are inserted in fields as diverse as “queer” politics, art and protest, twentieth-century Peruvian art, memory reactivation, and the processes of “historicization” of Latin American art between the 1960s and the 1980s, ideas that are, on the one hand, specific and constitute an archaeology of little researched histories of Peru and Latin America, and that offer, on the other hand, perspectives that disavow traditional art history models and set themselves up as possible spaces of critical re-signification.

Gabriel Pérez-Barreiro: Guy, you have worked primarily as an art critic, but you have also curated several very important exhibitions. Many people think these two activities are somewhat incompatible, and there are few cases like yours. How do you approach this crossover, and what makes you decide to curate an exhibition rather than, say, writing an essay about the same artists?

The Brazilian Isabella Rosado Nunes and the Cuban Eugenio Valdés Figueroa are the Directors of Casa Daros in Rio de Janeiro.

Chus Martínez, the Spanish curator who is dOCUMENTA (13) Head of Department, and Member of Core Agent Group and was recently appointed Chief Curator at El Museo del Barrio, answers a selection of questions posed to her by her colleague, curator Octavio Zaya, who has been appointed Curator of the Spanish Pavilion at the 55th Venice Biennial (2013).

The Colombian curator José Roca, who is the newly appointed Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate, London, and who represents the gallery in Latin America and plays a leading role in strengthening its already close relationship with the art of the region, was interviewed by his fellow countrywoman, María Inés Rodríguez, recently appointed Chief Curator at the Tamayo Museum, after having served in the same capacity at the Castile and León Museum of Contemporary Art (MUSAC).

The exhibition Tomasello. Visible Structure and Reflected Color, organized by Ascaso Gallery in Miami, showcased the work of this master who expanded the view and the possibilities of lumino-kineticism, under the curatorship of Serge Lemoine, Professor Emeritus of Art History at the Sorbonne University, Paris, a theoretician in the field of geometric abstraction and concrete art, and the author of revealing texts such as Mondrian et De Stijl, or François Morellet, or Aurélie Nemours.

In 2002, curators Patrick Charpenel Corvera, born in Mexico, and Silvia K. Cubiñá, born in Puerto Rico, worked together in an exhibition entitled Interplay, presented at The Moore Space in Miami, as part of the projects coinciding with the launching of Art Basel Miami Beach.

Interview with Jesús Carrillo, head of the Cultural Programs Department at the Museo Nacional Centro de Arte Reina Sofía in Madrid, and researcher and liaison for the Southern Conceptualisms Network.

The new pavilion of the Museum of Fine Arts Boston, designed by Foster & Partners (London), creates a common space, where artworks from North, Central, and South America produced over the course of three millennia interact like in no other museum.

This Mexican curator must rethink the future of one of the finest private collections of Latin American art in the world.

In the course of her life, Cecilia de Torres has been in close contact with some important figures of Latin American modern and contemporary art. But this is not the story of the gallerist who has built bridges for Latin American art to become known in the United States and Europe.

Harvard Art Museum’s new Associate Curator of Modern and Contemporary Art would like Latin America to be referred to more often at this university in Cambridge, Ma. , as an example of how art is conceived in the world of today.

The curator of Constructive Spirit. Abstract Art in South and North America, 1920s-50s defends the sui generis character of the abstract art that emerged in Uruguay, Argentina, Brazil, Venezuela and the United States in the mid-twentieth century.

Despite the lengthy trajectory of video art in the international context, Spain has been one of the last nations to incorporate audio visual works in its museums.

The name of Brazilian curator Adriano Pedrosa is inseparable from the process of creation of the role that an international curator may play in the 21st century.

The challenge to acquire visibility in order to communicate that which the artist wishes to convey

Carlos Basualdo is writing again, not from the intimacy of a poet, but as the speaker capable of conquering spaces in which the word of the artist resonates without interferences.

In January 2009, the Venezuelan Julieta González accepted the challenge of being assistant curator of Latin American art at Tate Modern, one of the four international museums (the others are MoMA, New York; Museum of Fine Arts, Houston; and The Blanton Museum of Art, Austin) that host Latin American art in their collections.

The name of Bonnie Clearwater, director of the Museum of Contemporary Art in North Miami, is associated to the vertiginous transformation of the Miami art scene.

Estrellita Brodsky´s name is already indissolubly linked to a broadening of the modern and contemporary art discourse towards a more comprehensive vision of Latin American art.