[derive] // Latin-American Video Art // A Critical View //

[Fernando Llanos]

Brumaria 10

‘Latin-American Video Art.
A Critical View’ - out now



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BRUMARIA -artistic, aesthetic and political practices
Latin-American Video Art. A Critical View

Editor: Laura Baigorri

Latin America has been widely neglected in North American and European  
history of video art. In fact, not even Spanish video art has taken it  
into account.

Until now, there have been numerous partial histories written about  
this artistic practice in each country, but there is not one  
publication that brings them together. Thus, we have considered it  
fundamental to give a global view of Latin American video art built  
through the peculiarities and conceptual divergences of the creative  
processes of each country.

The publication of these essays aims at filling this gap and it will  
interest a broad sector of the cultural world, be it artists or  
researchers. On the one hand, because it exposes both the history and  
the work of all the emerging artists; on the other hand, because the  
interest on what is produced at a national level is inevitably linked  
to and associated with what is produced in other countries that are  
culturally related, favouring the cultural exchange among Latin  
American countries.

Latin-American Video Art. A Critical View gives a panoramic and  
analytical critical view of the trajectory of video art practice in  
Latin America, bringing together its history and the most recent  
practices. This book contains a series of essays written by notorious  
art critics and researchers specialized in video art in their  
respective countries.



CONTENTS: Participants and Topics

- Laura Baigorri, ’Video in Latin America, interweaving memories’
- Rodrigo Alonso, ‘Towards a genealogy of Argentinean video art‘
- Graciela Taquini, ‘A chronicle of video art in Argentina. From the  
transition to the digital era’
- Cecilia Bayá Bolti, ‘Video art in Bolivia‘
- Arlindo Machado, ‘The art of video in Brazil‘
- Lucas Bambozzi, ‘The exploded video and its fragments floating above  
us (Brazil)’
- Alanna Lockward, ‘Desolutions and juxtapositions: Echoes for a  
polyphonic tale of video art from Haiti, Puerto Rico and Dominican  
Republic’
- Ernesto Calvo, ‘Video art in Central America? eppur se mueve’
- Néstor Olhagaray, ‘Brief review of the history of video art in Chile’
- Gilles Charalambos, ’Videoartistic Colombia. Basic notes on certain  
problematic aspects of video art in Colombia’
- Marialina García Ramos & Meykén Barreto Querol, ‘X-ray of an  
indocile image. (Diagnosis for tracing history of video art in Cuba)’
- María Belén Moncayo, ‘Ecuador: medial imprints from the non-place’
- Raúl Moarquech Ferrera-Balanquet, ‘Transnational Latin video art in  
USA – Canada: 1960-2007’
- Sarah Minter, ‘As a bird’s flight, video in Mexico: its origins and  
its context’
- Fernando Llanos, ‘Contemporary Mexican video: a day without a  
yesterday and a yesterday with a tomorrow’
- Fernando Moure, ‘Paraguayan soup. A hybrid cookbook for a videography’
- José-Carlos Mariátegui, ‘Video art days. An intense decade of video  
art in Peru’
- Enrique Aguerre, ‘Video’s condition 2.0 (25 years of video art in  
Uruguay)’
- Benjamín Villares Presas, ‘Video art in Venezuela. Four generations  
of audiovisual art’


This issue of Brumaria has been sponsored by:
Agencia Española de Cooperación Internacional para el Desarrollo


www.brumaria.net/erzio/publicacion/10.html

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