Sabotage Art
Politics and Iconoclasm in Contemporary Latin America
Nonfiction, Art & Architecture, General Art, Social & Cultural Studies, Political Science
| Author: | ISBN: | 9780857729132 | |
| Publisher: | Bloomsbury Publishing | Publication: | March 31, 2016 |
| Imprint: | I.B. Tauris | Language: | English |
| Author: | |
| ISBN: | 9780857729132 |
| Publisher: | Bloomsbury Publishing |
| Publication: | March 31, 2016 |
| Imprint: | I.B. Tauris |
| Language: | English |
Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy – most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art. Sabotage Art reveals how contemporary Latin American artists have resorted to 'sabotage' strategies as a means to bridge the gap between aesthetics and politics. The global status of – and market for - Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialisation within current academic historiographies and art-world curatorial initiatives.
Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy – most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art. Sabotage Art reveals how contemporary Latin American artists have resorted to 'sabotage' strategies as a means to bridge the gap between aesthetics and politics. The global status of – and market for - Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialisation within current academic historiographies and art-world curatorial initiatives.
