Radical women. Latin American Art, 1960-1985, the exhibition that I co-cured with Cecilia Fajardo-Hill that took place between 2017-2018 at the Hammer Museum, the Brooklyn Museum and the Pinacoteca de Sao Paulo, subverted the dominant patriarchal perspective on the art of this period from a feminine and feminist perspective. Although we do not conceptualize it from an intersectional approach, issues of race and sexual dissidence can be analyzed in different works of the exhibition. Many of them can be understood from a critical position towards the parameters of the regimented societies of Latin America, whose normative ideal was white and heterosexual. These were societies in which women who, in 1960, had recently won the right to vote, were also subject to repression, censorship, imprisonment and torture that affected all citizens. In this presentation I will analyze Radical Women from an intersectional perspective. I will review some of the works included in the exhibition from a different perspective to the one we proposed in the museographic layout. This approach allows us to consider the profound transformation that in recent years has begun to take place in terms of representation in the art world, particularly in Brazil. A representation that, using the terms of Denise Ferreira da Silva, could be conceive as a difference without separability, in which everything co-exists.
Andrea Giunta is a researcher, curator, professor at Universidad de Buenos Aires, and visiting scholar at the University of Texas at Austin. Giunta is the author of several books on Latin-American art, among which are: Escribir las imágenes. Ensayos sobre arte argentino y latinoamericano (Buenos Aires, Siglo XXI, 2011); Avant-garde, Internationalism and Politics. Argentine Art in the Sixties (Durham, Duke University Press, 2007). In 2018, she published Feminismo y arte latinoamericano. Historias de artistas que emanciparon el cuerpo (Buenos Aires: Siglo XXI, 2018). Co-curator ofRadical Women. Latin American Art, 1960-1985, she is currently curator of the Bienal 12. Porto Alegre, that it will open in April 2020.
Photo: Brian Forrest: Radical Women: Latin American Art, 1960-1985
Installation view, “Self-Portrait” theme. Hammer Museum, Los Angeles (2017)
Lunch provided. Free and open to the public.