|Since the end of the 50s, the world of visual arts undergoes the end of modernity and the beginning of contemporary art at an accelerated rhythm. Critics and artists speak of “the death of painting” and of “the death of art”. With the advent of a different era, painting and sculpture cease to reign over the “fine arts”. New disciplines, mediums, and materials appear: objects, constructions, performances, bricolages, ensembles, happenings, installations, videos, environments, interventions, and tours of spaces.
“Works of art” cease to resemble “works of art”: artists work with everyday objects, industrial products, waste and discarded materials, texts, and words; they create actions in urban or natural settings; they make filmic and photographic registers, and propose corporeal and sensorial experiences. Ideas and concepts in process mix with neo-figurative poetics, Minimalism, Pop, Neo-Surrealism, and varying nonfigurative ideas, such as primary structures and sensible geometry.
The discussion radicalizes over themes such as the de-materialization of the work of art, and the relationship between artistic and political practices. The Latin American scene displays its own era and agenda of production tied at times to the Neo-avant-garde movements of Internationalism, but always in accordance to its distinctive frameworks of cultural, historic, and social reference.
Antonio Berni, Jorge de la Vega, Antonio Dias, Fernando Botero, Nelson Leirner, Rubens Gerchman, Mira Schendel, León Ferrari, Hélio Oiticica, and Lygia Clark are proponents of these tendencies.
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