Re-generación 1958: Discurso y prácticas de la Izquierda Cultural venezolana (1958-1971) is my doctoral project mongraph. It proposes an historiographic reading of the Venezuelan cultural field in the 1960s by analyzing discouses and practices of two main groups of intellectuals: Tabla Redonda and El Techo de la Ballena. Although the initial position of these cultural actors was a marginal disposition, they were nevertheless intellectuals aspiring to a position within the field. The margin became a space of self-legitimization from which the need for cultural renovation was claimed, both in aesthtic and institutional matters. They took the form of an artistic avant-garde and advocated different programs. However, they have been grouped under the name of the "cultural left", an umbrella that says a lot about the ideological panorama of the period. This research is based on a series of questions about the transformation of the discourse throughout the decade aiming to understand how the political and social was translated into cultural practices. The particularity of the Venezuelan political context, with a democracy that emerged strengthened at the end of the 1960s, did not seem to be a scenario analogous to other Latin American countries, where the radicalization of intellectual commitment occurred precisely in the 1970s. There was indeed a strong division between the critical intellectual and the revolutionary intellectual, albeit only in its discursive aspect, since the revolutionary intellectual did not see his life threatened after 1968. The thesis of a deradicalization by institutional action then arises, from which political aesthetics became acceptable.
Editors: Sara Alonso Gómez, Isabel Piniella, Nadia Radwan, and Elena Rosauro
NO Rhetoric(s): Versions and Subversions of Resistance in Contemporary Global Art focuses on a neuralgic issue which was intensely debated during the last three decades, but has rarely become a topic of its own. This collective volume derives from and develops the discussion sparked by the events that occurred at the University of Bern, the University of Zurich, the Reitschule cultural center and the art space la_cápsula. It offers an updated way which art presents itself as an agent of resistance, whether in a mere rhetorical stance or as an effective critical strategy. In the face of general discourse of revolt and insurrection that is highly fashionable today, it is necessary to ask whether the gesture of ‘negation’ still yields an emancipatory potential. Struggling between NO rhetoric and NO to rhetoric, the artistic and the political field permanently interfere with each other; sometimes they merely overlap, while at other moments they strongly insist on demarcating themselves. Nonetheless it remains to be seen more precisely of what their respective critical forces and agonality consist.