Seinforma
Specialized Journalistic Sevices (SJS)
Servicios Especializados de Información
Servicios Especializados de Información
English
Español
_________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________
All Rights Reserved © Specialized Journalistic Services Copyright 2006-2009 Canada
Todos los Derechos Reservados © Seinforma Canada Copyright 2006-2009
Todos los Derechos Reservados © Seinforma Canada Copyright 2006-2009
Videos
_________________________________________________________________________
Contest
____________________________________________________________________________________________
__________________
______________________________________________________
______________________________________________________
The history of domination in Latin America. MONROE: Let's reformulate!
Erosión y desabastecimiento,
los beneficios del biodiesel
los beneficios del biodiesel
__________________
English
Español
_________________________________________________________________________________________________________________
_________________________________________________________________________________________________________________
______________________________________
__________________
______________
______________
(Photo resisters.ca /Seinforma)
CULTURE - EDUCATION
______________
Volunteering at Seinforma Canada
The Uncertain Future of the
Latin-American Painting
Latin-American Painting
One of the characteristics of the Latin American pictorial art is the nationalism. The paintings reflect the indigenous inheritance mixing it or not with the colonial past and also making reference to the social and economic struggles, since many Latin American nations were marked by lingering dictatorships.
The results of the second Nicaraguan Biennial of Painting in 1999, for example, was the starting spread point of an old European style in a country, which pictorial standards are still strongly ingrained and settled in the academicism but also linked and mixed with a strong tone of the contemporary-modern art movement.
Latin American painting features
One of the characteristics of the Latin American pictorial art is the nationalism. The paintings reflect the indigenous inheritance mixing it or not with the colonial past and also making reference to the social and economic struggles, since many Latin American nations were marked by lingering dictatorships. Many painters lean towards the figurative artwork, but geometric and abstract language are also shown and stand out with bold striking colours.
It is undoubtedly that there are multiple ways of expression and disciplines but referring to "painting”, fifth in the list of Fine Arts, it comes to our minds the creation of oil, pastel, acrylic masterpieces, as general concept of painting; and it’s not a surprise that Latin American painters still share a common denominator, the use of the canvas and paintbrushes.
Visual art ? Painter = Plastic Art ? Painter = Visual Art!?
However a confusion of concepts exists. Visual arts and plastic arts are believed to be synonymous of the painting. Well, a painter can be a visual artist but a visual artist is not automatically a painter. Visual arts have the objective of creating an impression through the eyes; therefore a painting is a visual art, as photographs, films and dances are. But a picture or a movie are not paintings. A painter can also enter into the plastic art world because the painter may use small elements to complement his work, like a jewel, a can, etcetera, being careful of not transforming his work into a "ceramic", so to speak. But, can a plastic art be considered as a painting?
Art painting
The artistic painting isn’t just anything. The artistic painting is the expression of ideas transformed into images or figures caught in a canvas, cardboard, wood, etcetera, with the purpose of transmitting a visual message. This creative outcome attracts the spectator who should decipher the relationship of the final product and the initial motivation developed by the painter's hands. The artistic painters, certainly, are based on primary techniques, which were developed and improved along the history (composition, balance, forms, colour and value) within what we call “Painting”.
The lack of theoretical and historical knowledge of art and its different expressions is the result of an inadequate comparison and therefore the derogation of an art category that has a sound grounding, such is painting, for other styles with a post-modern touch, branding our masters and young aspirant, of "traditionalist, conservatives and outmoded."
When artists are asked to partake in a "painting" exhibition, are included, contradictorily, representations that don't fit inside the pictorial scenery, from the conceptual point of view. Hence, the parameters of participation should be generalized, by means of a previous education about the categories of art planned to show, and change the title of the exhibition.
The education issue makes reference to the necessity of informing and not only shows the “end product”. Young and adults that never heard neither read nor see about this post-modern movement and demonstrations (installation art or art object) would be surprised when seeing it, (not because of its message but for its article) and they may qualify that as original and interesting, when in fact they are in front of a sort of art trend that was initially practiced in the 1970s. So, which is the surprise? Is finally our art bringing up to date?
Painting vs. “the others”
Art galleries with their overestimation of installation art are turning into museums of devices, jacks and knickknacks contributing to the ignorance of the Latin American great masters within youth social groups who already have asked more than once if there are painters in our countries.
For some, the diffusion of this postmodern movement is just an imitation of a foreign fad and only corresponds to a snob conception of some people that boast themselves about knowing the "fresh" European and New York styles, showing off of going against that traditionalism with a movement that the only thing of postmodern that has is the term.
Are we excessively chauvinist? What is needed is the establishment of a round table to expose our artistic freedom and originality, and recognize when that freedom begins and when it becomes an automatic copy of a postmodernist fleeting fashion with an innovative illusion pride.
Latin-American painting art is of legal age
Perhaps installations arts are accredited as “not paintings”, neither sculpture certainly. It is just one more mode of expression with its own characteristics and those who decide to choose and develop it as an expressive tool should be encourage and respected. However a lot of attention should be paid when categorizing our artists. Installation art can include many objects, and they can even have painted art pieces in the final work, but "Not all that has painting, is a painting"
The rejection to the Contemporary Latin American art painting and their masters must not be allowed; neither should be consented the exclusion of their work for "critics” that discard them for not being, according to them, inside the "international trend" as if we speak of a dress in a store on clearance season or as if our masters were little kindergarten children playing with cheap watercolours.
Irrevocably, They will be, the Latin American painting artists, the only and exclusive ones that establish now and tomorrow the way of their art, without instructions, but leaving an open window to the diverse influences and foreign trends with the supreme decision of embrace them; and yet with the responsibility of incorporate and keep our identity that was already recognized and still is inside and outside the region.
* Waleska Medina is a professional in Diplomacy and International Relations, graduated from the American University (UAM) in Managua, Nicaragua.
Latin American painting features
One of the characteristics of the Latin American pictorial art is the nationalism. The paintings reflect the indigenous inheritance mixing it or not with the colonial past and also making reference to the social and economic struggles, since many Latin American nations were marked by lingering dictatorships. Many painters lean towards the figurative artwork, but geometric and abstract language are also shown and stand out with bold striking colours.
It is undoubtedly that there are multiple ways of expression and disciplines but referring to "painting”, fifth in the list of Fine Arts, it comes to our minds the creation of oil, pastel, acrylic masterpieces, as general concept of painting; and it’s not a surprise that Latin American painters still share a common denominator, the use of the canvas and paintbrushes.
Visual art ? Painter = Plastic Art ? Painter = Visual Art!?
However a confusion of concepts exists. Visual arts and plastic arts are believed to be synonymous of the painting. Well, a painter can be a visual artist but a visual artist is not automatically a painter. Visual arts have the objective of creating an impression through the eyes; therefore a painting is a visual art, as photographs, films and dances are. But a picture or a movie are not paintings. A painter can also enter into the plastic art world because the painter may use small elements to complement his work, like a jewel, a can, etcetera, being careful of not transforming his work into a "ceramic", so to speak. But, can a plastic art be considered as a painting?
Art painting
The artistic painting isn’t just anything. The artistic painting is the expression of ideas transformed into images or figures caught in a canvas, cardboard, wood, etcetera, with the purpose of transmitting a visual message. This creative outcome attracts the spectator who should decipher the relationship of the final product and the initial motivation developed by the painter's hands. The artistic painters, certainly, are based on primary techniques, which were developed and improved along the history (composition, balance, forms, colour and value) within what we call “Painting”.
The lack of theoretical and historical knowledge of art and its different expressions is the result of an inadequate comparison and therefore the derogation of an art category that has a sound grounding, such is painting, for other styles with a post-modern touch, branding our masters and young aspirant, of "traditionalist, conservatives and outmoded."
When artists are asked to partake in a "painting" exhibition, are included, contradictorily, representations that don't fit inside the pictorial scenery, from the conceptual point of view. Hence, the parameters of participation should be generalized, by means of a previous education about the categories of art planned to show, and change the title of the exhibition.
The education issue makes reference to the necessity of informing and not only shows the “end product”. Young and adults that never heard neither read nor see about this post-modern movement and demonstrations (installation art or art object) would be surprised when seeing it, (not because of its message but for its article) and they may qualify that as original and interesting, when in fact they are in front of a sort of art trend that was initially practiced in the 1970s. So, which is the surprise? Is finally our art bringing up to date?
Painting vs. “the others”
Art galleries with their overestimation of installation art are turning into museums of devices, jacks and knickknacks contributing to the ignorance of the Latin American great masters within youth social groups who already have asked more than once if there are painters in our countries.
For some, the diffusion of this postmodern movement is just an imitation of a foreign fad and only corresponds to a snob conception of some people that boast themselves about knowing the "fresh" European and New York styles, showing off of going against that traditionalism with a movement that the only thing of postmodern that has is the term.
Are we excessively chauvinist? What is needed is the establishment of a round table to expose our artistic freedom and originality, and recognize when that freedom begins and when it becomes an automatic copy of a postmodernist fleeting fashion with an innovative illusion pride.
Latin-American painting art is of legal age
Perhaps installations arts are accredited as “not paintings”, neither sculpture certainly. It is just one more mode of expression with its own characteristics and those who decide to choose and develop it as an expressive tool should be encourage and respected. However a lot of attention should be paid when categorizing our artists. Installation art can include many objects, and they can even have painted art pieces in the final work, but "Not all that has painting, is a painting"
The rejection to the Contemporary Latin American art painting and their masters must not be allowed; neither should be consented the exclusion of their work for "critics” that discard them for not being, according to them, inside the "international trend" as if we speak of a dress in a store on clearance season or as if our masters were little kindergarten children playing with cheap watercolours.
Irrevocably, They will be, the Latin American painting artists, the only and exclusive ones that establish now and tomorrow the way of their art, without instructions, but leaving an open window to the diverse influences and foreign trends with the supreme decision of embrace them; and yet with the responsibility of incorporate and keep our identity that was already recognized and still is inside and outside the region.
* Waleska Medina is a professional in Diplomacy and International Relations, graduated from the American University (UAM) in Managua, Nicaragua.
***
Subscribe to our newsletter:
https://lists.resist.ca/cgi-bin/mailman/listinfo/seinforma-l
https://lists.resist.ca/cgi-bin/mailman/listinfo/seinforma-l
Multimedia
______________
The rejection to the Contemporary Latin American art painting and their masters must not be allowed; neither should be consented the exclusion of their work for "critics” that discard them for not being, according to them, inside the "international trend." (Photo Ilustration Waleska Medina/Seinforma Correspondent)
SPECIAL SERIES
MIGRATIONS
Migrations: Routes, Dreams and Reality
IS OUR PICTORIAL ART OUT OF DATE?
“Are we excessively chauvinist? What is needed is the establishment of a round table to expose our artistic freedom and originality, and recognize when that freedom begins and when it becomes an automatic copy of a postmodernist fleeting fashion with an innovative illusion pride.”
NO to US Military Bases in Colombia
Historical Frame of the Haitian Migrations
Special REPORTS
Some of the situations that generated the internal armed conflict in Peru during the 80’s and 90’s were the exclusion, the gap between rich and poor, and the State absence, conditions that opened the path to Sendero Luminoso’s terrorist response.
Some of the situations that generated the internal armed conflict in Peru during the 80’s and 90’s were the exclusion, the gap between rich and poor, and the State absence, conditions that opened the path to Sendero Luminoso’s terrorist response.
|
12/13/09
By Waleska Medina / Seinforma Canada Correspondent
Managua.- The display of art installations, a post-modern upshot of the contemporary art, in biennial exhibitions, galleries, and/or art spaces in Latin America, are more and more frequent nowadays and that possibly answers the expression demand that new artists may have.
By Waleska Medina / Seinforma Canada Correspondent
Managua.- The display of art installations, a post-modern upshot of the contemporary art, in biennial exhibitions, galleries, and/or art spaces in Latin America, are more and more frequent nowadays and that possibly answers the expression demand that new artists may have.
