Latin American Art, 1960-1985, Hammer Museum in 2017; Brooklyn Museum, New York, and Pinacoteca, Sao Paulo, in 2018.

Radical Women: Latin American Art, 1960–1985 presented the work of 120 women artists and collectives active in Latin America and the United States during a key period in Latin American history and the development of contemporary art. The artists represented fifteen countries and included emblematic figures such as Lygia Clark, Ana Mendieta, and Marta Minujín as well as lesser-known contemporaries such as Zilia Sánchez, Feliza Bursztyn, and Leticia Parente. The exhibition was the first survey of radical and feminist art practices in Latin America and among Latina artists in the United States.

For women artists in Latin America, the decades covered by the exhibition were a time of both repression and liberation. Most countries in the region were ruled by dictatorships or riven by civil war at some point during these years. The lives of many of the artists featured in Radical Women were thus enmeshed in experiences of authoritarianism, imprisonment, exile, torture, violence, and censorship. Yet this period also saw the emergence of new sensibilities. While few Latin American women artists identified as feminists, their works and their lives often manifested a vision of the female universe at odds with the region’s repressive regimes and deeply rooted patriarchal values. The Latina and Chicana artists working in the United States developed an aesthetic that addressed the marginalization of women and of their own communities in American society. Many of them participated in the civil rights, antiwar, gay rights, and feminist movements. Whether based in Latin America or the United States, the artists embraced the expanded possibilities of the era, with some contributing to the revitalization of traditional mediums such as painting and sculpture and others taking up new disciplines such as video art, performance, and conceptual practices.

Central to the diverse works on view in Radical Women is the notion of the political body. The themes around which the exhibition is organized—the self-portrait, the relationship between the body and landscape, the mapping of the body, the erotic, the power of words, the performative body, resistance and fear, feminisms, and social places—serve to render visible the shared concerns of artists across a vast geographic region.

Radical Women: Latin American Art, 1960–1985 was co-curated by Cecilia Fajardo-Hill and Andrea Giunta and organized by the Hammer Museum, Los Angeles, as part of Pacific Standard Time: LA/LA, an initiative of the Getty with arts institutions across Southern California. September 15, 2017—January 1, 2018. The exhibition toured to The Brooklyn Museum, New York, April 13–July 22, 2018 and to Pinacoteca, Sao Paulo, August 18–November 19, 2018

ESPAÑOL

Mujeres radicales: arte latinoamericana, 1960-1985

Mujeres radicales: arte latinoamericana, 1960-1985 presenta el trabajo de 120 mujeres artistas y colectivos, ambos activos en América Latina y los Estados Unidos durante un período clave en la historia de Latinoamérica y en el desarrollo del arte contemporáneo. Las artistas presentes en la muestra representan a quince países , y la selección incluye a figuras emblemáticas como Lygia Clark, Ana Mendieta y Marta Minujín, así como a artistas coetáneas menos conocidas Zilia Sánchez, Feliza Bursztyn y Leticia Parente. Esta exposición es el primer panorama de las prácticas radicales y feministas que se desarrollaron tanto en América Latina como de las artistas latinas viviendo en los Estados Unidos.

Las artistas de América Latina vivieron momentos tanto de represión como de liberación durante las décadas que abarca la muestra. Casi todos los países de la región eran gobernados por dictaduras o divididos por guerras civiles en algún momento durante ese período. Las vidas de muchas de las artistas de Mujeres radicales estuvieron por lo tanto implicadas en experiencias de autoritarismo, cárcel, exilio, tortura, violencia y censura. Sin embargo, ésta etapa también vivió la emergencia de nuevas sensibilidades. Algunas de las mujeres artistas latinoamericanas identificadas como feministas, a menudo manifestaron una visión del universo femenino  contraria a los regímenes represivos firmemente anclados en valores patriarcales. Las artistas latinas y chicanas que trabajaban en los Estados Unidos, desarrollaron propuestas estéticas que tenían que ver con temas de marginalización de la mujer y de sus propias comunidades en la sociedad americana.  Muchas de ellas participaron en la lucha por los derechos civiles, en contra de la guerra, por los derechos de los homosexuales, y a favor de los movimientos feministas. Bien fuese viviendo en América Latina o en los Estados Unidos, las artistas abordaron todas las posibilidades expansivas del momento, y mientras algunas contribuyeron a la revitalización de los medios tradicionales como la pintura y la escultura, otras abordaron nuevas disciplinas tales como el video arte, la performance y las prácticas conceptuales.

El núcleo central de las obras que conforman Mujeres radicales es la noción del cuerpo político. Los ejes temáticos en torno a los cuales la exposición fue organizada —el autorretrato, la relación entre el cuerpo y el paisaje, el cuerpo cartografiado, lo erótico, el poder de las palabras, el cuerpo actuando, miedo y resistencia así como feminismos y el lugar social — sirven para ilustrar los intereses y las problemáticas compartidas de estas artistas a través de una vasta región geográfica.

PORTUGUESE

Mujeres radicales: arte latinoamericana, 1960-1985  fue co-curada por Cecilia Fajardo-Hill y Andrea Giunta y fue organizada por el the Hammer Museum, Los Angeles, como parte de Pacific Standard Time: LA/LA, una iniciativa de la Getty junto a otras instituciones en el sur de California. September 15, 2017—January 1, 2018

La exhibición itineró al Brooklyn Museum, New York, April 13–July 22, 2018 y a Pinacoteca, Sao Paulo, August 18–November 19, 2018

Mulheres Radicais: arte latino-americana, 1960-1985

Mulheres radicais: arte latino-americana, 1960-1985 apresenta o trabalho de 118 mulheres artistas e coletivos formados por mulheres, em atividade na América Latina e nos Estados Unidos durante um período-chave tanto da história latino-americana quanto para os desdobramentos da arte contemporânea. Entre as artistas, que representam quinze países, estão incluídas figuras emblemáticas como Lygia Clark, Ana Mendieta e Marta Minujín, além de contemporâneas menos conhecidas como Feliza Bursztyn, Margarita Azurdia e Janet Toro. A exposição é fruto da primeira pesquisa sobre práticas artísticas feministas e radicais na América Latina e entre artistas latinas atuantes nos Estados Unidos.

Para as mulheres artistas na América Latina, as décadas cobertas pela exposição foram uma época de repressão e libertação. A maioria dos países na região foi governada por ditaduras ou esteve dividida pela guerra civil em algum momento durante esses anos. As vidas de muitas das artistas apresentadas em Mulheres radicais foram, portanto, enredadas em experiências de autoritarismo, prisão, exílio, tortura, violência e censura. No entanto, esse período também viu o surgimento de novas sensibilidades. Mesmo com poucas artistas latino-americanas identificadas como feministas, suas obras e suas vidas frequentemente manifestavam uma visão do universo feminino contrária aos regimes repressivos da região e aos valores patriarcais profundamente enraizados. As artistas latinas e chicanas que trabalharam nos Estados Unidos desenvolveram uma estética que abordava a marginalização das mulheres e de suas próprias comunidades na sociedade americana. Muitas delas participaram de movimentos em defesa dos direitos civis, dos direitos dos homossexuais, movimentos antiguerra e feministas. Radicadas na América Latina ou nos Estados Unidos, as artistas se dispuseram a explorar as muitas possibilidades disponíveis na época; algumas contribuindo para a revitalização de mídias tradicionais, como a pintura e escultura, outras assumindo novas disciplinas, como a videoarte, a performance e práticas conceituais.

Crucial para as diversas obras apresentadas em Mulheres radicais é a noção do corpo político. Os temas em torno dos quais a exposição é organizada – Autorretrato; Paisagem do corpo; Performance do corpo; Mapeando o corpo; Resistência e medo; O poder das palavras; Feminismos; Lugares sociais; O erótico – ajudam a tornar visíveis preocupações compartilhadas por muitas artistas em uma vasta região geográfica.

Cecilia Fajardo-Hill e Andrea Giunta

Curadoras

Participating artists

ARGENTINA – María Luisa Bemberg (1922–1995), Delia Cancela (1940), Graciela Carnevale (1942), Alicia D’Amico & Sara Facio (1933–2001 & 1932), Diana Dowek (1942), Graciela Gutiérrez Marx (1945), Narcisa Hirsch (1928-2019), Ana Kamien & Marilú Marini (1935 & 1940), Lea Lublin (1929–1999), Liliana Maresca (1951–1994), Marta Minujín (1941), Marie Orensanz (1936), Margarita Paksa (1933), Liliana Porter (1941), Dalila Puzzovio (1943), Marcia Schvartz (1955).

BRAZIL – Mara Álvares (1948), Claudia Andujar (1931), Martha Araújo (1943), Vera Chaves Barcellos (1938), Analívia Cordeiro (1954), Liliane Dardot (1946), Lenora de Barros (1953), Iole de Freitas (1945), Yolanda Freyre (1940) (Pinacoteca), Anna Bella Geiger (1933), Carmela Gross (1946), Nelly Gutmacher (1941) (Pinacoteca), Ana Maria Maiolino (1942), Marcia  X  (1959–2005), Wilma Martins, (1934) (Pinacoteca), Ana Vitoria Mussi (1943), Lygia Pape (1927–2004), Letícia Parente (1930–1991), Wanda Pimentel (1943), Neide Sá (1940), Maria do Carmo Secco (1933) (Pinacoteca), Regina Silveira (1939), Teresinha Soares (1927), Amelia Toledo (1926), Celeida Tostes (1929–1995), Regina Vater (1943).

CHILE – Gracia Barrios (1927), Sybil Brintrup & Magali Meneses (1954-2020 & 1950), Roser Bru (1923), Gloria Camiruaga (1941–2006), Luz Donoso (1921–2008), Diamela Eltit (1949), Paz Errázuriz (1944), Virginia Errázuriz (1941), Catalina Parra (1940), Lotty Rosenfeld (1943-2020), Janet Toro (1963), Eugenia Vargas (1949), Cecilia Vicuña (1947).

COLOMBIA – Alicia Barney (1952), Delfina Bernal (1940), Feliza Bursztyn (1933–1982), Maria Teresa Cano (1960), Beatriz González (1938), Sonia Gutiérrez (1947), Karen Lamassonne (1954), Alicia Barney (1952), Delfina Bernal (1940), Maria Teresa Cano (1960), Beatriz González (1938), Sonia Gutiérrez (1947), Karen Lamassonne (1954), Sandra Llano Mejía (1951), Clemencia Lucena (1945–1983), María Evelia Marmolejo (1958), Sara Modiano (1951–2010), Rosa Navarro (1955), Patricia Restrepo (1954), Nirma Zárate (1936–1999).

COSTA RICA – Victoria Cabezas (1950)

CUBA – Antonia Eiriz (1929–1995), Ana Mendieta (1948–1985), Marta María Pérez (1959), Zilia Sánchez (1928)

GUATEMALA – Margarita Azurdia (1931–1998)

MEXICO – Yolanda Andrade (1950), Maris Bustamante (1949), María Eugenia Chellet  (1948) (Pinacoteca), Ximena Cuevas (1963), Lourdes Grobet (1940), Silvia Gruner (1959), Kati Horna (1912–2000), Graciela Iturbide (1942), Ana Victoria Jiménez (1941), Magali Lara (1956), Mónica Mayer (1954), Sarah Minter (1953–2016), Marta Palau (1934), Polvo de Gallina Negra (1983–1993), Carla Rippey (1950), Jesusa Rodríguez (1955), Pola Weiss (1947–1990)

PANAMA – Sandra Eleta (1942)

PARAGUAY – Olga Blinder (1921–2008), Margarita Morselli (1952)

PERU – Teresa Burga (1935), Gloria Gómez Sánchez (1921–2007), Johanna Hamann (1954), Victoria Santa Cruz (1922-2014)

PUERTO RICO – Poli Marichal (1955), Frieda Medín (1954)

UNITED STATES – Celia Alvarez Muñoz (1937), Judy Baca (1946), Barbara Carrasco (1955), Josely Carvalho (b. Brazil, 1942), Isabel Castro (1954), Sara Gomez (b.Cuba, 1942–74) (Brooklyn Museum), Ester Hernández (b.1944) (Brooklyn Museum),Yolanda López (1942), María Martínez-Cañas (b. Cuba, 1960), Marta Moreno Vega (b.1942) (Brooklyn Museum), Sylvia Palacios Whitman (b. Chile, 1941), Sophie Rivera (1938), Sylvia Salazar Simpson (1939), Patssi Valdez (1951)

URUGUAY – Nelbia Romero (1938–2015), Teresa Trujillo (1937)

VENEZUELA – Mercedes Elena González (1952), Marisol (1930), Margot Romer (1938), Antonieta Sosa (1940), Tecla Tofano (1927), Ani Villanueva (1954), Yeni & Nan (1977–1986).      

Radical Women

Digital archive, Press, and Videos:

Radical Women digital archive: https://hammer.ucla.edu/radical-women

https://hammer.ucla.edu/radical-women/documentation

Catalogue:

https://hammer.ucla.edu/radical-women/essays

• Link to the essays: Essays | Radical Women: Latin American Art, 1960–1985 Digital Archive | Hammer Museum (ucla.edu)

Link to purchase the book from the Hammer store: Radical Women: Latin American Art, 1960–1985 – Hammer Museum Store (ucla.edu)

Press

https://hammer.ucla.edu/radical-women/research/press

AUG 22, 2017

Drastic Times

Art in America, SEP 20, 2017

“Radical Women” at the Hammer Museum Is the Kind of Show That Art Critics Live For

Artnet, SEP 20, 2017

PST’s Radical Women Speak Out in Day-Long Symposium at Hammer Museum

The Art Newspaper, SEP 21, 2017

A Head-Spinning, Hope-Inspiring Showcase of Art

New York Times, SEP 21, 2017

The Latin American Women Artists Who Fought Patriarchy with Their Bodies

Artsy, SEP 28, 2017

Radical Women: Latin American Art, 1960–1985, at Hammer Museum, Los Angeles, USA

Terremoto, SEP 30, 2017

“Radical Women” at the Hammer Museum is a Startling Show You Need to See, Maybe Twice

Los Angeles Times, OCT 5, 2017

Andrea Giunta y Cecilia Fajardo-Hill sobre “Radical Women”

Artishock, OCT 27, 2017

“Radical Women” and Anna Maria Maiolino

Frieze, OCT 31, 2017

“Bad Hombres, and Nasy Women”: Pacific Standard Time: LA/​LA Examines Gender and Sexuality

Aware, NOV 3, 2017

From Absence to the Living Body: Radical Women: Latin American Art, 1960–1985

BOMB Magazine, NOV 7, 2017

Radical Women at the Hammer: Out From the Shadows

Artillery, NOV 20, 2017

The Other Side: Radical Women

Los Angeles Review of Books, DEC 5, 2017

“You Can’t Say It Doesn’t Exist”: A Curator on the Art of Latin American Women from 1960 to ’85

Hyperallergic, DEC 13, 2017

Radical Women: Latin American Art, 1960–1985

The Brooklyn Rail, JAN 1, 2018

Radical Women: Latin American Art, 1960–1985

ArtForum, JAN 2018

Radical Women: The Body Politic, the Body Exposed

ArtNexus 108, MAR – MAY 2018

How the Body Became Political for the Women of Latin American Art

Apollo Magazine, APR 13, 2018

Radical Women: How Latin American Artists Rebelled With Their Work

The Guardian, MAY 11, 2018

For It’s Turn at the Brooklyn Museum, ‘Radical Women’ Got a Makeover. Here Are 4 Artists Adding a New York Accent

Artnet, JUN 20, 2018

The Radical Work of Women Artists in Latin America from 1960 to ‘85

Hyperallergic, AUG 29, 2018

Radicais em museus

Revista Bravo!, SEP 12, 2018

Mulheres radicais: arte latino-americana, 1960–1985

ARTE! Brasileiros, NOV 13, 2018

Women radicals: the Latin American artistic militancy in the exhibition of the Pinacoteca of SP

Zum Magazine

http://www.artealdia.com/Reviews/RADICAL-WOMEN

RADICAL WOMEN, AUG 27, 2019

Programs:

Speaker at The Making of Feminists. The Reception/Construction of 1970s female artists from Latin America, Asia and Central and Eastern Europe in the US” (or: “in New York”), Contemporary and Modern Art Perspectives (C-MAP) in a Global Age: A Program for Research at The Museum of Modern Art, New York, 2015.

https://masp.org.br/seminarios/historias-da-sexualidade-histories-of-sexuality

A exposição Radical Women: Latin American Art, 1960-1985 [Mulheres radicais: arte latino-americana, 1960-1985] será inaugurada no Museu Hammer, em Los Angeles, em 2017. O longo projeto de sete anos de pesquisa pretende demonstrar que, entre 1960 e meados dos anos 1980, artistas mulheres na América Latina e de ascendência latina e chicana nos Estados Unidos empreenderam uma pesquisa radical e experimental que gerou uma nova área de investigação focada na politização do corpo. Como um locus de exploração e redescoberta, o corpo articula uma nova iconografia radical e uma linguagem que desafia os nossos meios de compreender o mundo. A apresentação terá como foco as maneiras como a sexualidade é explorada no contexto da exposição Radical Women. Ao examinarem tópicos relacionados à sexualidade – o erótico, a maternidade e a anatomia feminina –, as artistas de Radical Women propõem uma emancipação do corpo que rejeita qualquer sentido de ordem ou papel estabelecido.

Sneak Preview of Radical Women: Latin American Art, 1960-1985 (co-curated with Andrea Giunta) Hammer Museum, Los Angeles, part of Getty Pacific Standard Time LA/LA.

Cecilia Fajardo-Hill (Guest Curator – Radical Women: Latin American Art, 1960-1985) and Theresa Sotto (Assistant Director Academic Programs – Hammer Museum) discuss the exhibition Radical Women: Latin American Art, 1960-1985. The exhibition focuses on the artistic practices of women artists working in Latin America and US-born women artists of Latino heritage between 1960 and 1985, providing insight into this important period in Latin American history and in the development of contemporary art.

https://channel.sciarc.edu/browse/radical-women-latin-american-art-1960-1985-curator-conversation

December 05, 2017

©2017 SCI-Arc Channel

Cecilia Fajardo-Hill (Guest Curator – Radical Women: Latin American Art, 1960-1985) and Theresa Sotto (Assistant Director Academic Programs – Hammer Museum) discuss the exhibition Radical Women: Latin American Art, 1960-1985.

What does it mean to be a radical woman artist? How did Latin American women artists and Latinas working in the United States between 1960 and 1985 defy dominant patriarchal narratives through new perceptions of the body? What is the relationship between Latina and Latin American art practices and political feminisms? How is the body political?

The political body, a key concept of the exhibition Radical Women: Latin American Art, 1960–1985, is bound by the poetics of subjectivity, shaped by desire, and disobedient and resistant in the face of political turmoil such as oppression, violence, and dictatorship. In this symposium, scholars, artists, and curators from around the world convene to consider ideas of radicality, feminism, and the emancipated body.

https://hammer.ucla.edu/radical-women/programs

Panel I: What Does It Mean to Be a Radical Woman Artist?

Moderator: Cecilia Fajardo-Hill

Panelists: Graciela Carnevale, Karen Lamassonne, Adriano Pedrosa, Patssi Valdez

The period of 1960–1985 was a time of great experimentation all over the world, and a period in which many of the languages of contemporary art, such as conceptual art, video art, and performance, were shaped. In particular, Latina and Latin American women artists in Radical Women defied canonical ideas of art and normative definitions of the body, specifically of the female body. They reinscribed ideas of femininity, sexuality, gender, the political, the social, and the conceptual. This session proposes to explore and discuss the multiple meanings and definitions of radicality as found in the works in Radical Women. How can we describe the singular contributions by the Latina and Latin American women artists to contemporary art of this period? What defines their unique radicality?

Panel I: ¿Qué significa ser una mujer artista radical?

Moderadora: Cecilia Fajardo-Hill

Panelistas: Graciela Carnevale, Karen Lamassonne, Adriano Pedrosa, Patssi Valdez

El periodo de 1960-1985 fue una época de gran experimentación en todo el mundo, y un período en que se crearon muchos de los lenguajes del arte contemporáneo tales como el arte conceptual, el videoarte, y el performance. En particular, las mujeres artistas latinas y latinoamericanas en Radical Women desafiaron ideas canónicas respecto a las definiciones artísticas y normativas del cuerpo, específicamente del cuerpo femenino.  Ellas reinscribieron ideas sobre la feminidad, la sexualidad, el género, lo político, lo social, y lo conceptual. Esta sesión se propone explorar y examinar los múltiples significados y definiciones de la radicalidad en relación a obras que se encuentran en Radical Women. ¿Cómo podemos describir las contribuciones singulares de mujeres artistas latinas y latinoamericanas al arte contemporáneo de este período? ¿Qué define su radicalidad única?

https://hammer.ucla.edu/radical-women/programs

APRIL 14, 2018

Opening Celebration: Radical Women: Latin American Art, 1960–1985

Celebrate the opening of Radical Women: Latin American Art, 1960–1985 with a curator tour, conversation, and performance. This daylong program honors the pioneering Latin American and Latina artists in the exhibition and their canon-expanding contributions to contemporary art during a period of extraordinary conceptual and aesthetic experimentation.

https://www.facebook.com/watch/?v=676791399386073

AUGUST 18, 2018

Conversa com artistas e curadoras: Mulheres radicais

Em ocasião da nova exposição “Mulheres radicais: arte latino-americana, 1960-1985”, a Pinacoteca de São Paulo. Uma conversa especial com as artistas Maria Eugenia Chellet, Maria Evelia Marmolejo. Paz Errazuriz, Cecilia Vicuña, Iole de Freitas, Vera Chaves Barcellos e as curadoras da mostra Cecília Fajardo-Hill e Andrea Giunta.

In the occasion of the opening of “Mulheres radicais: arte latino-americana, 1960-1985″(Radical Women: Latin American Art, 1960-1985) at the Pinacoteca of SaoPaulo. A special conversation with artists Maria Eugenia Chellet, Maria Evelia Marmolejo, Paz Errazuriz, Cecilia Vicuña, Lole de Freitas, and Vera Chaves Barcellos with the curators of the exhibition, Cecília Fajardo-Hill and Andrea Giunta.

https://www.youtube.com/watch?v=TCCrFmx0trg

Curator Cecilia Fajardo-Hill discussed Radical Women: Latin American Art 1960-1985, a co-curated exhibition currently presented at the Pinacoteca de São Paulo in Brazil. Moderated by University of Toronto Professor Rosa Sarabia.

LACAP, Toronto, Canada, Nov 22, 2018

Fundación FAVA

July 4, 2019  ·

RADICAL WOMEN / CONVERSATORIOS FAVA

Les compartimos “Radical Women, capitulo Chile”. Tema: “Mujeres en el arte/ artistas”…

Contamos con la presencia de:

Cecilia Fajardo-Hill Co-curadora de la exhibición “Radical Women: arte Latinoamericano (1960-1985)” y las Artistas chilenas:

Cecilia Vicuña, Eugenia Vargas, Janet Toro y Sybyl Brintrup

https://www.facebook.com/watch/?v=2382170288733998