After Radical Women: Challenges to Dismantle the Colonial Artistic Canon
In 2018, the last presentation of the exhibition Radical Women. Latin American Art, 1960-1985 closed at the Pinacoteca de Sao Paulo. The exhibition opened a new vision of Latin American art and provided an account of its shortcomings concluding that the canon of Latin American art had not only excluded women, but also Afro-descendant and Indigenous artists. The year of the pandemic produced an institutional and curatorial shift that has had an impact on biennials, museum collections and the art market. How has this come about? To what extent is it the result of active institutional actions or does it respond to the need to renew curatorial and artistic markets? Has the presence of women artists, artists of non-binary identities, Afro-descendants, and Indigenous, managed to transform the canon of Latin American art? Problematizing and revising the limitations of the art world has become a central task in the curatorial and historiographical projects for Andrea Giunta and she will reflect and discuss her approach and preoccupations since the notable co-curated exhibition Radical Women.
About the Speaker
Andrea Giunta is a writer, curator, Senior Researcher at CONICET (Argentina), and Professor at Universidad de Buenos Aires. Curator of León Ferrari’s retrospective exhibition (Buenos Aires, CCR, 2004; Pinacoteca de São Paulo, 2006); co-curator of Verboamérica (Museo de Arte Latinoamericano [MALBA], Buenos Aires, 2016); and Radical Women. Latin American Art, 1960–1985 (Hammer Museum, LA; Brooklyn Museum, NY; Pinacoteca de São Paulo, 2017–18). In 2020, she was Chief Curator of Bienal 12 Mercosul, Feminine(s). Visualities, Actions y Affects (Porto Alegre, Brasil). Her recent books include Feminismo y arte latinoamericano (Siglo XXI, 2018), Contra el canon (Siglo XXI, 2020), Rethinking Everything (delpire&co, 2021), The Political Body. Stories on Art, Feminism, and Emancipation in Latin America Art (UCPress, 2023).