Arts and Humanities Commons^™

Colonial Maps And A Cartographic Reckoning In Post-Revolutionary Mexico City, Delia A. Cosentino

Artl@s Bulletin

By the 20^th century, 16th-century maps of Mexico City were not new, but their value was renewed by an urban elite grappling with the nation's historical geography. The capital saw fresh developments, including modern architecture and industry, while early excavations offered glimpses of Aztec Tenochtitlan buried beneath. This stratigraphic tension necessitated a reckoning; of concern here is the way that visual and intellectual cultures engaged in a particular cartographic reckoning. Colonial maps filled a void as artists, architects, art historians, and others worked to reconcile Mexico City’s modern identity with its ancient foundations.

Disputas Imperiales Por Latinoamérica: Un Ensayo Comparativo En Torno A Dos Proyectos Cartográficos De Alfredo Guido Y Miguel Covarrubias, Fabiana Serviddio

Artl@s Bulletin

En este trabajo propongo ensayar una comparación entre dos proyectos artísticos casi contemporáneos realizados en los albores de la Segunda Guerra Mundial, que problematizaron su pertenencia cultural a relatos regionales preestablecidos. En primer lugar, se abordará el análisis de Carretera Panamericana(1942), obra mural del artista argentino Alfredo Guido; en una segunda instancia, se hará referencia al proyecto de los seis mapas pictóricos realizados por Miguel Covarrubias para la Exposición Internacional Golden Gate de San Francisco, en 1939 (deteniéndome en particular, en Formas artísticas del área del Pacífico yPoblaciones del Pacífico). Las cartografías pictóricas de Alfredo Guido y …

Mapping Colonial Interdependencies In Dutch Brazil: European Linen & Brasilianen Identity, Carrie Anderson

Artl@s Bulletin

In Dutch Brazil, the Brasilianen were essential allies to the West India Company. To maintain this critical alliance, the Dutch presented them with gifts of linen, a fabric in high demand. Representations of Brasilianen wearing linen garments were pervasive and include an image on Joan Blaeu’s 1647 map of the Brazilian Captaincies of Rio Grande and Paraíba. Traditional interpretations of these linen-clad Brasilianen prioritize a center/periphery model; in contrast, I argue that these pictured linens document the interdependencies between the WIC and the Brasilianen, a position supported by digital maps plotting Dutch/indigenous exchanges.

Indigenous Stylistic & Conceptual Innovation In The Uppsala Map Of Mexico City (C. 1540), Jennifer Saracino

Artl@s Bulletin

The only known map of Mexico City painted with the collaboration of indigenous artists, the Mapa Uppsala (c. 1540) depicts the city and surrounding Valley of Mexico. This essay counters previous characterizations of the map’s formal composition as one that has fully espoused European cartographic modes. This essay contextualizes the Mapa Uppsala within the extant corpus of pre-Hispanic and early colonial cartographies to demonstrate that a closer analysis of pictorial conventions and structures can shed light on how and why the artists might have consciously selected particular pictorial strategies.

El único mapa conocido de la ciudad de México pintado con …

Thinking Globally, Mapping Locally: Styles And Discourse In Transatlantic Cartography, Delia A. Cosentino

Artl@s Bulletin

Maps have the special capacity to create and project spatial frameworks through both their physical and stylistic forms. The close study of maps as constructed objects re-centers the principle element of any art historical problem, relational thinking through visual culture. A cartographic representation examined as an element of its historical context can simultaneously articulate a specific perspective on a particular place, and reveal broader dialogues of which that viewpoint is one part. The articles brought together here examine a variety of local mappings contingent on more global thinking in the transatlantic world, from the colonial period to the twentieth century.

Think Natural ! Une Nécessité Qui Ne Se Cache Plus, Cedrick Nzolo Ngamobu

Artl@s Bulletin

This contribution raises questions regarding the search for mediation and transition found in pedagogy and the creative process. This can be posed as a response to an affirmation of identity, coupled with a search for philosophical autonomy. The need for mediation or transition is a necessity that we all seek in different ways and according to our respective contexts. In teaching in a school of art or fashion, it is a question with different variables that leaves the field open to all forms of questioning and brings to the fore the confrontation of modes of expression.

Œuvre D’Art Comme Récit Historique (Rapport Des Discussions Du Groupe De Travail), Emi Koide

Artl@s Bulletin

This report aims to present central questions raised during two days of group discussion and debate concerning the theme « art work as history ». Several different points of view were presented, in which generational frictions in kinois artistic milieu came to the fore. The main subjects during the discussions were: the challenges involved in writing Art History in the Congo through their own perspectives; the importance on creating archives about Congolese art locally; considering artwork as historical narrative; the importance of the body as a link between object and performance, as well as between material and immaterial dimension.

Au-Delà Des Rivalités Provinciales : Poétiques Visuelles Tropicalistes Et Autres Projets D’Art Étendu Depuis La Perspective Du Nord-Est Brésilien, Ayrson Heráclito

Artl@s Bulletin

This text is a compilation of writings published during the course of our research for the 3^rd Biennale of Bahia (2014), for which we worked in the curatorial team. These investigations reflect on the genealogy of Northeast Brazil’s contemporary art, seeing this region as unrestricted and non-essentialist. The production of certain artists is considered within an expanded context. To this end, we employed the idea of PEBA (Pernambuco-Bahia), while attempting to come to terms with the possibility of existence of a family, united by the desire for a poetic turn in the tropics.

The Lubumbashi Biennial: Towards New Protagonisms, Daniella Géo

Artl@s Bulletin

This article reflects on the role and relevance of the Lubumbashi Biennial (DR Congo), taking into account its specificities, context and modus operandi, as well as making brief parallels with other recurring art events in an attempt to situate the Congolese biennale within the histories of contemporary art biennales. The text provides first-hand commentary on the Lubumbashi Biennial, in particular its fourth edition in which the author formed part of the curatorial team.

Histoire Picturale De Laurent-Désiré Kabila (1997-2001), Donatien Dibwe Dia Mwembu

Artl@s Bulletin

This article considers the story of the late Laurent-Désiré Kabila, President of the Democratic Republic of Congo, as told by the popular painters of the city of Lubumbashi. Its shows how popular painting contributes to the knowledge of LD Kabila's reign, by serving as a support for oral history. Indeed, the commentaries of the paintings made by their authors or by critics unveil a chapter of history. Placed next to each other according to their theme and chronological order, popular paintings depict the highlights of the history of a given region in a specific area such as politics, economy, culture, …

Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama

Artl@s Bulletin

This study relooks at the problematic concept of "African Art". The conceptual evolution of "African Art" coincides with three realities: firstly, that the art discovered in Africa was described as uncivilized; secondly, that this art capitulated with the colonial past of Africa; finally, that this art of an underdeveloped continent. In such a context of emergence, this art has been or is still exploited by ambitious and interested promoters. Hence, there is an imperative need for contemporary artists to overcome all these influences to produce works whose ontological values and universality cannot be challenged.

Les Nouveaux Défis Du Métier D’Artiste En République Démocratique Du Congo, André Yoka Lye

Artl@s Bulletin

The history of art institutions in D.R. Congo is relatively old compared to the rest of Africa. This justifies the know-how of Congolese artists since 1930-40’s, even if the general trend was, for a long time, reliant on amateurism and mimetism of European production. With the integration of art institutes into university education level since 1971, the issues and challenges became precise and appeared to be possible to overcome: professionalization, rooted and applied research, community building and international competitiveness, with the urge of solidarity with countries and experiences from the South.