El tránsito entre el proyecto de un “Arte Americano” (1920-1930) y la fórmula de un “Arte Latinoamericano” (1950-1970)
Keywords:
Arte Americano, Arte Latinoamericano, Segunda Posguerra, Confrontación/ExclusiónAbstract
Este ensayo analiza el tránsito entre la idea de un "Arte Americano" tal como fue formulada por Joaquín Torres García y David Alfaro Siqueiros, y la fórmula de un "Arte Latinoamericano". Acuñado en el siglo XIX, la (re)emergencia del proyecto latinoamericanista en la segunda posguerra desplazó al proyecto vanguardista de un “Arte Americano” de los años 20 y 30 pensado como la integración de América del Sur, América Central y América del Norte.
La labor emprendida por Torres García y Siqueiros permite analizar la integración regional de las “tres Américas” como una geopolítica artística alterna a la configuración postulada por la idea de un “Arte Latinoamericano”. El proyecto de un “americanismo expandido” fue también sostenido en esos años por críticos del “norte” como Alfred H. Barr Jr. y Clement Greenberg. La segunda posguerra puso fin a este anhelo integracionista. Surgida en este contexto, la idea de un “Arte Latinoamericano” se operó, por una parte, en términos de exclusión del nuevo proyecto de un “Arte Americano” entendido ahora como arte de los Estados Unidos, y, por otra parte, desde la crítica y el arte del sur, en términos de confrontación con la potencia del norte percibida en términos de amenaza política, económica y artística.
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