This Special Issue of Artlas Bulletin focuses on artistic circulation, exchange and networks in Latin American art history. We welcome papers on any phase of Latin American independence through the contemporary moment on art, architectural or design history.

Argument

During the last fifteen years, Latin American art has been added to canons of twentieth-century modernism and postmodernism, in an apparent triumph for the field. The myriad exhibitions and scholarly texts that have contributed to this explosion of interest have taken different approaches to the transnational, networked character of the modernism and contemporary art of the region. From Inverted Utopias’ “constellations” of similar tendencies across disconnected countries to The Geometry of Hope’s inclusion of Paris as a “Latin American city” to Perder la forma humana’s vast network diagram of 1970s and 1980s artists, conceptual frameworks for survey exhibitions of abstraction, conceptual and performance practices have drawn on models of circulation and geographical interconnection. Likewise, Andrea Giunta’s Vanguardia, internacionalismo y política, Claire Fox’s Making Art Panamerican and Sérgio B. Martins’ Constructing an Avant-Garde, among a surfeit of recent books, have explored national and regional histories in terms of the institutional endeavor to promote particular artists, countries, or alliances within the international field. These networked approaches are in part a result of curators and scholars simply following the historical movements of individual artists, movements, publications, and exhibitions.

How might this focus on international networks and circulation reorient existing models of Latin American art history? This issue of the Artlas Bulletin calls for articles that attend not only to institutional initiatives, but to the ways that connection and movement have been incorporated into modern and contemporary works of art by Latin American artists. We welcome studies that consider networks and mobility as subject matter within representational art or art writing, as embedded in the forms of artworks themselves, or both. Topics might include, but would certainly not be limited to, manifestos written around the peregrinations of artists within and beyond the region, aesthetic philosophies grounded in mapping or reorienting geographies, relationships between abstraction and movement, the walks, marches or other mobile actions in public space, the use of maps as informational content or surrogate bodies in conceptualism and performance art, and explorations of border politics.

Artlas Bulletin is a free, online-only, peer-reviewed journal published by École Normale Supérieure in Paris. 

Submission guidelines

Manuscripts may be in English, French, German, Italian or Spanish. As a general guideline, manuscripts submitted to theArtl@s Bulletin average between 5,000 and 7,000 words, including footnotes. All citations should be in the form of footnotes and conform to the Chicago Manual of Style. Articles should be accompanied by an abstract of no more than 650 characters (including spaces), and a list of illustrations. Initial manuscripts should be submitted in Microsoft Word, double spaced, in 12-point font.

For detailed information on the formatting of the final submission, see Final Manuscript Preparation Guidelines.

Deadline for submissions: April 15, 2014

Please email to daniel.quiles4@gmail.com

Editorial Board

• • Editor-in-Chief
    

• Catherine Dossin, Purdue University
• Béatrice Joyeux-Prunel, École normale supérieure

• • Editorial Board
    

• Michela Passini, CNRS
• Daniel Quiles, School of the Art Institute of Chicago
• Blaise Wilfert-Portal, École normale supérieure

• • Editorial Assistants

Art@s Bulletin I-1

• Claire Guérin, École normale supérieure

Art@s Bulletin II-1

• Claire Guérin, École normale supérieure
• Robin Mahannah, Purdue University,

Art@s Bulletin II-2

• Michaelene Werth, Purdue University