Permanent Seminar in Latin American Art

Presentations:

1. Leo Cardoso – Media and Dictatorship in Brazil

My paper deals with the media translation, memory, and nostalgia in Brazil regarding the period of military dictatorship in the ‘60s and ‘70s. In special, I focus on the collective past as projected by Rebel Years (Anos Rebeldes), a miniseries exhibited by Globo TV in 1992 that follows the trajectories of a group of youngsters from Rio de Janeiro during dictatorship. Os Carbonários, along with the book 1968, The Year That Never Ended, written by Zuenir Ventura, was the main literary historical source for Gilberto Braga, the miniseries’ sriptwriter.

2. Andres Lombana Bermudez – Transnational Cumbia, Deejay Culture and Digital Technology: Remixing Cumbia in the 21st Century
In this paper I try to understand the global emergence of cumbia digital, in particular, its production, distribution, and consumption among a group of deejays from Austin, Texas (Peligrosa DJ crew). I try to reveal how digital technology enables deejays to create and develop a new cumbia style that has a global appeal.

Presentations:

1. Ursula Davila-Villa:
“I will discuss with the group the models adopted by different museums that have Latin American collections, I would like to briefly present the case of the Tate Modern, the Blanton Museum, el Museo del Barrio, and MoMA and then have the group discuss the benefits, risks, and possibilities of each model”.

2. Jacqueline Francis:
To Be Real: Figuring Blackness in Modern and Contemporary African Diaspora Visual Cultures

Presentation:

Dr. Roberto Tejada will read poems from his book: Exposition Park

Imagine a walking tour of stanzas and prose poems that give lyric voice to sight, public speech, and spectacle. In Exhibition Park, Roberto Tejada delivers a command performance in mixed genres that compel an array of literary styles. His poetry undertakes a wide range of subjects motivated by artworks from Latin America and the United States covering the colonial period to the present day. In serial poems, short sketches, guidebook parodies, painterly triptychs, translations, and other word-based dioramas, Tejada coins wonder with historical styles–baroque, classic, and experimental. As likened to a world’s fair, the resulting voices intone global stories, the dream life of art, and first-person atmospheres both premodern and postindustrial.