Sabotage Art: Politics and Iconoclasm in Contemporary Latin America

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Sophie Halart (University College London, UK) Mara Polgovsky Ezcurra (Birkbeck, University of London, UK)

Sabotage Art

Politics and Iconoclasm in Contemporary Latin America

Sophie Halart (University College London, UK), Mara Polgovsky Ezcurra (Birkbeck, University of London, UK)

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English

Bloomsbury Visual Arts
25 August 2022

Art & design styles: from c 1960; Political subversion

Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art.

Sabotage Art reveals how contemporary Latin American artists have resorted to sabotage strategies as a means to bridge the gap between aesthetics and politics. The global status of and market for Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialization within current academic historiographies and art-world curatorial initiatives.

Edited by: Sophie Halart (University College London UK), Mara Polgovsky Ezcurra (Birkbeck, University of London, UK)
Imprint: Bloomsbury Visual Arts
Country of Publication: United Kingdom
Dimensions: Height: 216mm, Width: 138mm,
ISBN: 9781350276611
ISBN 10: 1350276618
Pages: 256
Publication Date: 25 August 2022
Audience: College/higher education , Professional and scholarly , Primary , Undergraduate
Format: Paperback
Publisher's Status: Active

List of Illustrations Notes on Contributors Acknowledgements Introduction Mara Polgovsky Ezcurra and Sophie Halart Part I: Ensnaring, Burning, Trespassing: Material Sabotage 1. Marta Minujin's Self-Sabotage: From Existentialism to Counterculture Catherine Spencer 2. Shaman, Thespian, Saboteur: Marcos Kurtycz and the Ritual Poetics of Iconoclasm Mara Polgovsky Ezcurra 3. Pictorial Eviscerations, Emblems, and Self-Immolation in Mexico: Dissensus in the work of Enrique Guzman and Nahum B. Zenil Erica Segre 4. Bureaucratic Sabotage: Knocking at the door of the 'Big Monster' Zanna Gilbert Part II: Cannons and Canons: Explosive vs. Implosive Postures 5. Cogs and Clogs: Sabotage as Noise in Post-1960s Chilean and Argentine Art and Art History Sophie Halart 6. Impossible Objects: Gabriel Orozco's Empty Shoe Box and Yielding Stone Natasha Adamou 7. El Museo de la Calle. Art, Economy and the Paradoxes of Bartering Olga Fernandez Lopez 8. Stay at Your Own Risk: Disturbing Ideas of Community in Two Projects by Elkin Calderon Carla Macchiavello 9. 'The Space of Appearance': Performativity and Aesthetics in the Politicization of Mexico's Public Sphere Robin Greeley Notes Index

Sophie Halart is a Visiting Teaching Fellow at the Universidad Catolica de Chile, Santiago de Chile and a Teaching Fellow at University College London, UK, where she received her PhD on contemporary women artists in the Southern Cone. Mara Polgovsky Ezcurra is Lecturer in History of Art at Birkbeck, University of London, UK and received her PhD in Latin American Cultural Studies from the University of Cambridge, UK.

Reviews for Sabotage Art: Politics and Iconoclasm in Contemporary Latin America

Nelly Richard once commented on the difficulty of reading the politics of Latin American contemporary art abroad without reducing the works to a testimonial function or, alternatively, stripping them of their incisive concreteness. This wonderful collection speaks to the emergence of a critical discourse on Latin American art that manages to hold form and politics not just in the balance but to read one through the other: a truly groundbreaking achievement. * Jens Andermann, Professor of Latin American Studies, University of Zurich, Switzerland * Sabotage Art provides a welcome shift of emphasis amidst perennial redefinitions of political art in Latin America. Framing sabotage as a positional choice with regard to the institution allows Halart, Polgovsky Ezcurra and their collaborators to critically interrogate the longstanding association of Latin American art with struggle or adversity for both historical case studies and the market delirium over contemporary art . This book makes for an excellent teaching resource on overlooked artists such as Paulo Bruscky, Enrique Guzman, Marcos Kurtycz, and Edgardo Antonio Vigo, offers fresh examinations of canonized avant-gardes in Argentina and Chile, and considers recent participatory projects in Bogota and Mexico City. Yet it is most valuable in the sum total of its discrete chapters, which together demonstrate a range of new methods for a field now hitting its stride. * Daniel Quiles, Assistant Professor, Department of Art History, Theory & Criticism, The School of the Art Institute of Chicago, USA *