|The last two decades of the century appear marked by the democratization of the artistic field, dismissing the principle of the “artistically correct”. Without superior models or authoritarian knowledge to regulate and administer the territory, contemporary artistic productions circulate quickly and multiply possibilities.
Conceptual art had dismantled the idea of the work of art as a material presence or as merchandise, predetermined institution. Industrial materials, scientific models, reflections on the areas of psychoanalysis, linguistics, cultural studies and the codes of communication imposed by the mass media intervene in the world of visual arts.
The works of Antonio Seguí, León Ferrari, Liliana Porter, Víctor Grippo, Waltércio Caldas y Gego are some examples of this situation. Since the beginnings of the decade of the 80s, the return of painting as an international tendency with local variations has an impact over the artistic scene.
The Italian Trans-Avant-garde, American Bad Painting, and Neo-Figuration in Latin countries and the New Image in Argentina, put into circulation pictorial images that combine the codes of cinema, theater, literature, music, dance, urban graffiti and gender studies. This “resurrection” of painting finds two of its key actors in Argentine Guillermo Kuitca and Cuban José Bedia.
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