Video Art in Latin America: Selections from Brazil
Nobember 30, 2016 — February 4, 2017
Curated by the Getty Research Institute
The Getty Research Institute will present a preview of selections of its upcoming exhibition Video Art in Latin America at the Rubell Family Collection/Contemporary Arts Foundation.
The exhibition will be on view from Nov 30 to Feb 4. Video Art in Latin America is part of the Getty’s Pacific Standard Time: LA/LA, a collaboration of arts institutions across Southern California that will present more than 70 exhibitions focused on Latin American and Latino art in the Fall of 2017. The exhibition will take place at LAXART with support from the Getty Foundation.
Video Art in Latin America is an exhibition and research project that maps the emergence and development of video art across approximately two dozen artistic centers in Latin America and the Caribbean from the late 1960s to the present day.
For the Rubell Family Collection/Contemporary Arts Foundation, curators Glenn Phillips and Elena Shtromberg have selected a sampling of important video artworks from Brazil from the 1970s to the present. These works employ video technology to create powerful observations on art and society. Video pioneers from the 1970s, Sonia Andrade, Anna Bella Geiger, and Leticia Parente, worked during Brazil’s military dictatorship (1964-1985) and their works demonstrate early attempts to use video to comment on the political constraints faced by artists during that time. More than a decade later, Sandra Kogut’s Parabolic People (1991) is, as the title suggests, a unique parable of the fast-paced, fragmented, and media saturated world of the 1990s. Berna Reale’s Palomo (2012) reveals the arbitrary nature of police surveillance, while Cinthia Marcelle and Tiago Mata Machado’s Century (2011) comments on excessive consumption of the 21st century and the resulting urban chaos it generates. Finally, Rodrigo Cass’s Civiltà Americana (2012) is a subtle investigation of aesthetic forms as video projections. From an earlier reflection on national identity, to a more sustained inquiry into the materiality of form on a projected screen, these artist videos present new ways of understanding the intersection between expanding video technologies and the visual world.
About Pacific Standard Time: LA/LA:
Pacific Standard Time: LA/LA is a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles taking place from September 2017 through January 2018 at arts institutions across Southern California.
Through a series of thematically linked exhibitions and programs, Pacific Standard Time: LA/LA highlights different aspects of Latin American and Latino art from the ancient world to the present day. With topics such as luxury objects in the pre-Hispanic Americas, 20th-century Afro-Brazilian art, alternative spaces in Mexico City, and boundary-crossing practices of Latino artists, exhibitions range from monographic studies of individual artists to broad surveys that cut across numerous countries.
Supported by more than $15 million in grants from the Getty Foundation, Pacific Standard Time: LA/LA involves more than 70 cultural institutions, from Los Angeles to Palm Springs, and from San Diego to Santa Barbara.
Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.
Founded in 2005, LAXART is Los Angeles’ leading independent contemporary art space supporting artistic and curatorial freedom. The organization is committed to presenting experimental exhibitions, public art initiatives, and publications with emerging, mid-career, and established local, national, and international artists. More information can be found at www.laxart.org.
Artists in the exhibition:
Anna Bella Geiger, Mapas Elementares No. 3, 1976 (3:12)
Leticia Parente, Marca Registrada, 1975 (10:20)
Sonia Andrade, Sem Título (Pregos), 1974-77 (5:32)
Sandra Kogut, Parabolic People, 1991 (41:27)
Rodrigo Cass, Civiltà Americana, 2012 (8:54)
Cinthia Marcelle & Tiago Mata Machado, O Século, 2011 (9:37)
Berna Reale, Palomo, 2012 (3:03)