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Andrea Giunta

Andrea Giunta
* En raison d’un imprévu les conférences d’Andréa Giunta organisées en mai 2019 sont annulées.*
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 and Contemporary Art. She is also Principal Researcher of the CONICET, National Research Council, Argentina, and Visiting Scholar at The University of Texas at Austin. Recipient of fellowships as the Guggenheim, the Getty Foundation,the Rockefeller Foundation,the Donald D. Harrington Faculty Fellowship, University of Texas at Austin and the Tinker Professorship at Columbia University. Among her books are Feminismo y arte latino americano (2018); Radical Women. Latin American Art, 1960-1985 (with Cecilia Fajardo-Hill); Verboamérica (2016, 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. Argentine Art in the Sixties (2007, 1rst Spanish edition 2001). Andrea Giunta is part of the EHESS visiting professors program in May 2019, upon a proposition of Esteban Buch (Centre de Recherches sur les Arts et le Langage - CRAL).
Race, ethnicity and empathy. Radical Women, Latin American Art, 1960-1985
Dans le cadre du séminaire de Beatrice Prunel “Women in the Globalization of Art”

Jeudi 9 mai 2019, DE 13H30 À 15H30  -  ENS, 45 rue d’Ulm, (IHMC-Room, Stair D, last floor).

Departing from the works of the exhibition Radical Women: Latin American Art, 1960-1985, in this presentation Professor Andrea Giunta analyze a group of its works in relation to the concepts of race, ethnicity and empathy. This presentation will consider the difficulties involved in analyzing such perspectives in Latin American art and the need to reposition our practices in order to problematize the canon of art, both from gender and race perspectives.
Guernica in Munich
Dans le cadre du séminaire de Esteban Buch "Musique et politique au vingtième siècle"

Vendredi 10 mai 2019, DE 17H00-19H00 - EHESS (salle 11), 105 bd Raspail, 75006 Paris.

In 1955, an anthological exhibition by Pablo Picasso was presented at the Haus der Kunst in Munich, which included Guernica, a painting linked to the German intervention in the Spanish Civil War. The Haus der Kunst had been built by orders of Hitler as the House of the German Culture. In this venue, the painting, the history of Picasso, the postwar and the Cold War entered an intense collision. To what extent can images repair or ignite history? In this lecture Professor Andrea Giunta will present the advances of her research on this exhibition and test some answers to a question that pursues the history of all the images, but even more so, a work that condenses to the violence of twentieth century ¿How it was established the power of this image?
Lucio Fontana in Buenos Aires, abstraction, science and war
Dans le cadre du séminaire de Giovanni Careri “Théories des images”

Mardi 14 mai 2019, DE 13H À 15H - INHA (salle Benjamin), 2 rue Vivienne 75002 Paris.

Fontana's residence in Buenos Aires is almost absent in the artist's biographies. Assimilated to a period in which the artist linked his work to the nature of the pampas, it has also been considered a "time in the colonies." The works that Fontana made since his return to Italy involve a radical change in his aesthetics: the neon, the buchi, the spatial concepts will no longer coexist with the realistic sculpture he made even in relation to the salons of fascism in Italy, in the thirties. This presentation proposes that such a transformation would not have been possible without Fontana's residence in Buenos Aires, between 1945-1946. It is then when not only the aesthetic change that allowed his return to abstraction occurs, but also his political repositioning. This conference analyzes this transformation based on a comparison with Albert Einstein’s theories and his position before the war, as well as in relation to the cultural context of Argentina at the time of the rise of Peronism.
An iconographic turn. The denormatization of bodies and sensibilities in the work of Latin American women artists between the 60s and 80s.
Dans le cadre du séminaire de  Patricia Falguiere “Something You Should Know: Artists and Producers”

Mercredi 15 mai 2019, DE 19H À 21H -  16-18 rue Suger 75006 Paris.

From the sixties, art inaugurated representations of the body that produced a radical iconographic turn with respect to established traditions in the history of art. The hidden, fixed, stereotyped and even tabulated body, linked to the patriarchal structures of heterosexual and normative modernity, was intensely questioned and investigated. This presentation analyzes the process of resemantization of the female body between the 60s and 80s, as it occurred in the field of artistic representations in Latin America - even when we consider that this is not a regional or continental process, but rather produced in the international art of the period.