Anna Maria Maiolino, E' o que sobra (what is left over), 1974, from the series Fotopoemação (photo poem action), 1973-2017

Post-Colonialism: Latin American Women Artists (1960-1980)


Practical information

Symposium in English
No reservation required
5 €

Event overview

Latin American Art Symposium 
Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)

Speakers: Barbara Carrasco, Lara Demori, Esther Gabara, Andrea Giunta, Sophie Halart, Giulia Lamoni and Cecilia Vicuña (video contribution)

Conveners: Burcu Dogramaci, Laura Karp Lugo and Stephanie Weber

This Symposium is organised by Lara Demori (Goethe Fellow, Haus der Kunst)

Welcome by Ulrich Wilmes, Chief Curator Haus der Kunst
Welcome by Joachim Bernauer, Head of Culture Goethe-Institut

Introduction by Lara Demori, Goethe-Institut Fellow Haus der Kunst

1st Session
Sophie Halart (Universidad Alberto Hurtado, Santiago de Chile)
"Mater chilensis toward a maternal re-reading of the Chilean neo-avantgarde"

Lara Demori (Haus der Kunst)
"Transnational influences in Marta María Pérez Bravo's series Para Concebir (1985-1986)

Q&A moderated by Laura Karp Lugo (LMU)

Lunch break

2nd session
Barbara Carrasco (Artist and Muralist, Los Angeles, CA)
"Chicana Artist in a U.S. Context"

Esther Gabara (Duke University)
“¿Acaso hay otro orden?: Shouts and Murmurs from the 1970s”

Q&A moderated by Burcu Dogramaci (LMU)


3rd Session
Giulia Lamoni (Universidade Nova de Lisboa)
"Artists as Radical Educators in Latin America (1960s-1970s): A feminist research project"

Andrea Giunta (Universidad de Buenos Aires)
"Race, Ethnicity and Empathy in Latin American Women Artists, 1960-1985"

17.00 Q&A moderated by Stephanie Weber (Lenbachhaus)

Cecilia Vicuña: an artist interview (video contribution)

Closing remarks and panel discussion
Barbara Carrasco, Burcu Dogramaci, Esther Gabara, Andrea Giunta, Sophie Halart, Laura Karp Lugo, Giulia Lamoni and Stephanie Weber

19.00 End

This one-day symposium explores the diverse forms of feminist artistic practices that developed in Central and South America between 1960 and 1980, and proposes a reevaluation of the notion of the ‘Third World’ via an examination of the historiography of exhibitions alongside artistic and activist practices that draw on the symbolic frame of feminism. Emerging from the 1955 Bandung Conference and subsequent formation of the Non-Aligned Movement, the term ‘Third World’ has traditionally shifted between denoting a political position that was ancillary to both the capitalist West and communist East, to identifying the cultural and economic conditions of so-called ‘underdeveloped’ countries; a position which in turn perpetuated a fallacious, homogenized understanding of the countries that constituted it.

Such a misnomer is particularly egregious when one considers the pluralities of race, ethnicity, and gender that constitute Latin America, a region whose multiple identities and intercultural complexities are commonly analyzed within the framework of 'mestizaje' (miscegenation, mixing. Nevertheless, as Gerardo Mosquera has warned, even a notion as fluid as 'mestizaje' cannot escape the tendency to erase imbalances and conflicts within diverse cultural communities and, in so doing, similarly runs the risk of becoming “an attractive stereotype for the outside gaze.” Situating itself between the totalizing tendency of the “Third World” and the orientalist proclivities of 'mestizaje', "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will utilize the lens of feminism in order to excavate the aforementioned historical moment, exposing its inherent contradictions, as well as probe its political and cultural specificities so as to emphasize and locate modes of resistance against patriarchal hierarchies and hegemonic forms of feminist identification. In so doing, it will circumvent the notion that “Third World” women constitute a homogenous category “victimized by the combined weight of their traditions, culture and beliefs, and “our” (Eurocentric) history,” as well as abstain from promulgating the notion of some form of “universal sisterhood” that assumes a commonality of gender experience across race and nationality. 

In place of this, the symposium takes up the call of several scholars who advocate for a new analytical methodology that acknowledges the struggles of Latin American women in relation to their history, cultural context, economic class, and social identity. "Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)" will strive to unveil the presence of multiple feminisms and their decolonizing subaltern positions. It takes  ethnic and cultural differences into account, as well as to exploring their political and economic implications. By investigating as well the intersectionality between the presence of African populations in Latin American, movements of Native Americans and differences between Latino and Latin American identities, “Decolonizing Third World Feminism: Latin American Women Artists (1960-1980)” aims to further complicate the idea of feminism in Latin America.

Barbara Carrasco
Barbara Carrasco is an artist and muralist. She obtained her B.F.A. from University of California, Los Angeles in 1978 and her M.F.A. from the California Institute of the Arts in 1991.Since 1978, her works have been exhibited in the U.S. and Europe.
In 2018, her mural L.A. History: A Mexican Perspective is featured in the SIN CENSURA installation at Los Angeles County Museum of Natural History. Her mural sketches are in the Permanent Collection of Works on Paper, Library of Congress, Washington D.C. Her papers are archived at Stanford University Special Collections and her oral history is included in the Smithsonian Archives of American Art. In 2002, Carrasco was appointed UC Regents Professor at UC Riverside and she is currently a board member of the Dolores Huerta Foundation.
In 2008, Girl Scouts of America created a merit patch based on Carrasco’s image of Dolores Huerta.
Carrasco received the Mexican American Legal Defense and Educational Fund, Leadership in the Arts award. Her work is included in the "Radical Women" exhibition currently on view at Brooklyn Museum of Art and in the "¡Murales Rebeldes!" Exhibition at California Historical Society, San Francisco.

Prof. Dr. Burcu Dogramaci
Dr. Burcu Dogramaci (b. 1971) is Professor of 20th Century and Contemporary Art in the Department of Art History at University of Munich. She has received research scholarships from the German Research Institute (DFG) and the Aby M. Warburg Prize of the City of Hamburg and was awarded the Kurt-Hartwig-Siemers Research Prize by the Hamburg Scientific Foundation (HWS).  In 2016, she received an ERC Consolidator Grant for her research project “Relocating Modernism: Global Metropolises, Modern Art and Exile”. Her research focuses on the areas of: exile, migration and flight; urbanity; the history and theory of photography; fashion history and theory, modern architecture, sculpture and design; Live Art. Her latest publications include: Fotografie der Performance. Live Art im Zeitalter ihrer Reproduzierbarkeit, Paderborn: Fink 2018 (forthcoming); Passagen des Exils / Passages of Exile (Jahrbuch Exilforschung, 35), Munich: edition text + kritik 2017 (edited with E. Otto); Heimat. Eine künstlerische Spurensuche, Cologne: Böhlau 2016

Lara Demori
Dr. Lara Demori, Goethe-Institut fellow at Haus der Kunst, was awarded a Ph.D. in History of Art from the University of Edinburgh with a thesis on artists Hélio Oiticica and Piero Manzoni, which investigates the emergence of postmodern art practices from a transnational perspective and discusses the shift from representation to performance at the turn of the sixties. Researcher on the discursive-exhibition chapter "Postcolonial Art: 1955–1980" at Haus der Kunst, Lara Demori is currently examining the practices of a few Latino/a and Latin American women artists working in between 1965-1985, focusing in particular on the representation of pregnancy. Lara Demori has published articles and book chapters and participated in numerous international conferences. In 2015 she organized the international conference ‘Possibilities of exchange: Experiments in Modern and Contemporary Latin American Art’ in collaboration with The Fruitmarker Gallery, Edinburgh and she is the organizer of the symposium ‘Decolonizing Third World Feminism: Latin American Women Artists 1960-1980’ at Haus der Kunst.

Esther Gabara
Esther Gabara (Ph.D., Stanford University) is the E. Blake Byrne Associate Professor of Romance Studies and Art, Art History & Visual Studies at Duke University. A specialist in modern and contemporary Latin American literature and visual culture, she teaches a broad range of undergraduate and graduate courses that bring together research, theory, and practice, and introduce students to scholarly and artistic genealogies in the Global South. She co-directed the Global Brazil Lab at Duke University’s Franklin Humanities Institute, supported by a Mellon Foundation grant (2014-2017). Gabara is the faculty guest curator of the forthcoming exhibition, Pop América, 1965-1975, which will travel from the McNay Art Museum (San Antonio, 2018) to the Nasher Museum of Art (Duke, 2019), and the Block Museum of Art (Northwestern, 2019). Pop América was awarded the inaugural Sotheby’s Prize for curatorial innovation, and generous support from the Warhol Foundation. Gabara recently contributed to two exhibitions in the Pacific Standard Time: Los Angeles/Latin America (LA/LA) 2017 program supported by the Getty Foundation: the Autry Museum of the American West’s La Raza, and Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide, and Tatiana Parcero at the Ruth Chandler Williamson Gallery at Scripps College. She published the monograph Errant Modernism: The Ethos of Photography in Mexico and Brazil (2008, Duke University Press), as well as numerous scholarly articles and exhibition catalogue essays. Forthcoming texts will be included in Independent Salons, 1968-1971 (2018, Contemporary Art University Museum, MUAC/UNAM, Mexico) and Estudios de cultura visual en América Latina (2018, Institute of Aesthetic Research,  IIE/ UNAM, Mexico). 

Andrea Giunta
Andrea Giunta is an art historian and curator specialized in Latin American and Contemporary Art. She received her Ph.D. from the Universidad de Buenos Aires, Argentina, where she is Professor of Latin American Art and Global Modern and Contemporary Art at the Facultad de Filosofía y Letras.  Principal Researcher of the CONICET, National Research Council, Argentina, she is also Visiting Lecturer at the University of Texas at Austin. She held the Chair in Latin American Art History and Criticism at the University of Texas at Austin, where she was also the founding Director of the Center of Latin American Visual Studies (2008-2013). Giunta is the recipient of several awards, including the Guggenheim, the Getty Foundation, and the Rockefeller Foundation Fellowship. She was distinguished with the Donald D. Harrington Faculty Fellowship, University of Texas at Austin and the Tinker Visiting Professor at Columbia University, NY, 20017. Different universities have recognized her work with invitations as a keynote speaker (Harvard, University of Chicago, Berkeley, New York University, Chicago Art Institute, Columbia University, EHESS, Paris). She delivered lectures at museums like MoMA, Reina Sofía, Getty Institute, MFAH, Malba, Pinacoteca de São Paulo, Bahnhof, Hammer, MoMA, MUAC-UNAM, etc. Among her books are Feminismos y arte latioamericano (2018), Radical Women. Latin American Art, 1960-1985 (2017, together with Cecilia Fajardo-Hill), Verboamérica (2016, together with Agustín Pérez Rubio); When Does Contemporary Art Begin? (2014);Escribir las imágenes (2011); Objetos mutantes (2010); Poscrisis (2009); El Guernica de Picasso: el poder de la representación (2009); Avant Garde, Internationalism and Politics (2007, 1st Spanish edition 2001).

Sophie Halart
After graduating with a PhD in History of Art from University College London, Dr Sophie Halart was appointed as a FONDECYT Postdoctoral Fellow at Universidad Alberto Hurtado in Santiago, Chile, starting March 2018. Within her doctoral thesis, ‘Epidermal Aesthetics: Skin and the Feminine in Argentine and Chilean Contemporary Art (1973- present)’, she investigated the production of Argentine and Chilean artists from the 1970s up to now. Examining the surface – both material and symbolical – of their works, the thesis identified the presence of an “epidermal aesthetics”, paying particular attention to the topos of skin as a site of resistance and self-determination. She was the co-editor of the book Sabotage Art: Politics and Iconoclasm in Contemporary Latin America (I.B. Tauris, 2016). Her current postdoctoral research project examines the discussion established between the maternal and materiality in contemporary Chilean art.

Giulia Lamoni
Giulia Lamoni is FCT Researcher at the Instituto de História de Arte at Nova University in Lisbon (Portugal), and Visiting Assistant Professor in the Department of Art History of the same university.  She holds a PhD in Aesthetics / Arts and Sciences of Art from the University of Paris I / Panthéon Sorbonne. Her research activity explores the articulations between art and feminisms in Portugal and Brazil in the 1960s and 1970s, the relations between contemporary art and migratory processes and the shaping of transnational artistic networks, heterogeneous forms of collaboration and dialogue from the 1960s to the present. Her texts have appeared in journals like Third Text, n.paradoxa: international feminist art journal and Manifesta Journal: Around Curatorial Practices, and in exhibition catalogues and books of museums like Centro de Arte Moderno / Gulbenkian Foundation, Centre Pompidou and Tate Modern. As a researcher and a teacher she is interested in collaborative forms of curating that explore the boundaries between academic work and curatorial practices and imagine challenging forms of cross-pollination. She co-curated, with Margarida Brito Alves and Filomena Serra, the exhibition Co-Habitar at Casa da América Latina in Lisbon (October 2016- January 2017) and curated a solo exhibition of artist Eugénia Mussa at Galeria Quadrum in Lisbon in 2017. In 2017, she was a Brooks International Fellow at Delfina Foundation and Tate Modern in London. She co-coordinates the research line “Cultural Transfers in a Global Perspective” at the Instituto de História de Arte at Nova University in Lisbon (Portugal) and is a member of the project “Decentralized Modernities: Art, politics and counterculture in the transatlantic axis during the Cold War” MODE(S) (HAR2017-82755-P).

Dr. Laura Karp Lugo
Laura Karp Lugo has a PhD in Art History from the Sorbonne (2014). Her dissertation was awarded the Prize of the Musée d’Orsay and will be published by Presses universitaires de Rennes.  From 2007, she has worked in several international research institutions and universities including the National Institute of Art History (Paris), the University of Buenos Aires, the University of São Paulo, the University of Barcelona and the Deutsche Forum für Kunstgeschichte in Paris. She is currently a post-doctoral researcher for METROMOD, an ERC project led by Prof. Dr. Burcu Dogramaci at the LMU.

Stephanie Weber
Stephanie Weber is a curator of contemporary art at Lenbachhaus in Munich since 2014. From 2010–2014, she worked as assistant curator in the Department of Media and Performance Art of The Museum of Modern Art in New York. At Lenbachhaus she organized, among others, the extensive exhibition and conservation project dedicated to French-Argentine artist Lea Lublin (2015, Justus Bier Award for Curators), the exhibition Rochelle Feinstein: I Made a Terrible Mistake (2016, AICA Germany Award "Special Exhibition"), as well as After the Fact: Propaganda in the 21st Century (2017), an exhibition and events program probing the dialectical relationship between current Western propaganda and art. As a freelance curator, in 2016 she co-initiated (with Manuela Ammer, Eva Birkenstock, Jenny Nachtigall and Kerstin Stakemeier) the exhibition and magazine project Klassensprachen / Class Languages which was presented at DISTRICT Berlin and the Kunstverein für die Rheinlande und Westfalen in Düsseldorf. She is currently preparing an exhibition and publication of the work of Senga Nengudi (Lenbachhaus, September 2019).