VIVID [RADICAL] MEMORY
[VRM]
Radical Conceptual Art revisited: A social and political perspective from the East and the South
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[ Doc. enviroments list]
- Conceptualismos, 1: Prácticas críticas y estrategias de apropiación en la obra de Juan Carlos Romero (by F. Davis) (ES)
- Stop making sense (about Muntadas work) (CR)
- Conceptualismos, 2: El Deshabituador. Ricardo Carreira en los inicios del conceptualismo (by Ana Longoni) (ES)
- Secondary literature: Robert Rehfeldt / alternative art scene in the GDR (BI)
- Conceptualismos, 3: Escena de Avanzada (by Paulina Varas) (ES)
- What is avantgardism? (ES)
- Conceptualismos, 4: Other Beginnings og Conceptualism (by Ana Longoni) (ES)
- Snows of Yesteryear, 1970 (ES)
- Conceptualismos: Researchers' Network on Conceptualisms (ES)
- Conceptualismos, 5: Erosion and Dissolution of the Object in the Peruvian Art of the 1960s. (by M. López and E. Tarazona) (ES)
- Conceptualismos, 6: The latent discourse in Brazilian art in the 1970s (by Cristina Freire) (ES)
- Publications in Escáner Cultural (BI)
- El Arte Correo en el Arte Contemporáneo: Eugenio Dittborn y Paulo Bruscky (UR)
- Blueprint Circuits:conceptual art and politics in latin america by Mari Carmen Ramírez (BI)
In the present text, the Mail art is understood like a contemporary artistic practice and is analyzed under the viewpoint "micropolitics" developed by Giles Deleuze and Felix Guattari (1997) and by Paul Ardenne (2002). First is presented a historic of this artistic expression in the global context and,specifically, in Latin American context. Later, Mail art and its operations are explained through the concepts of "Eternal Network" by Robert Filliou (1963), “Micropolitics" and "Rhizome" by Deleuze and Guattari (1997) and "Not-place" by Marc Augé (1994). Finally, two contemporary artists are related, Eugenio Dittborn and Paulo Bruscky, to show as their current production have a forceful relation with this artistic expression.
En el presente ensayo, el Arte Correo se comprende como una práctica artística contemporánea y, por lo tanto, se analiza bajo la óptica «micropolítica». Inicialmente, se presenta un histórico de esta manifestación artística en el contexto global y, específicamente, en el latinoamericano. Después, se explica el Arte Correo y su funcionamiento através de los conceptos de «eternal network» de Robert Filliou (1963), «micropolítica» y «rizoma» de Deleuze y Guattari (1997) y «no-lugar» de MarcAugé (1994). Finalmente, se relacionan dos artistas contemporáneos, Eugenio Dittborn y Paulo Bruscky, que en su actual producción tienen una contundente relación con esta manifestación artística.