Latin Art And Its Contribution To Knowledge

One of the cultural foundations of Latin American integration and regional presence in the world is the contribution of Arts and Literature through visual images and narratives. Without them, it would not be possible to recognize the importance of symbolic force in the historical and political imaginary of Latin Americans; this symbolic heritage “is part of the profile of our societies and all their members as individuals.”

The production and aesthetic creation of the mestizo culture provides valuable inputs for the people to recognize their identity, consolidate their memory and contribute their sensitive intelligence so as not to get lost in the midst of the permanent and pressing questions about who are Latin Americans in this transition millenary, what is our place in the world and how will we continue to face the dizzying globalization, which is accelerated every day by telematics, cybernetics and information technology.

The Brazilian painter Ferreira Gullar, in 1989, reminded us with clarity and precision, that there is no novelty in saying that the mode of aesthetic knowledge differs from the way of scientific and also philosophical knowledge. Art, poetry is questioning expressions of all traditional knowledge and even of artistic expertise itself. The artist is a permanent questioner of culture because it is critical because it privileges the existential and affective experience facing the conceptualized world. Conceptualization is the search for stability and balance but implies a distancing from objective and subjective reality. The scientist, the philosopher, the sociologist also question cultures, but differently from the artist and the poet. Those who want to substitute one concept for another; instead the artist and the poet examine the very conceptualization of reality; they refuse the generalizations that dissolve the experience lived in the abstract idea. His way of knowing is an incessant restart like life itself.

The Andante Americans Alfonso Reyes defined it, he unites his steps in the poetic word, in popular music, in the carnival, in dance, in his dramas and historical-political essays, in his great novels of incredible, social and frightening realism and transcultural , appropriating the universal aspects in the language of the vanguards that consolidate, from the 20s of the last century, an awareness of liberation and autonomy. The city of São Paulo has been one of the spaces that contributed, in 1922, with the historic “Modernist Art Week of the 22nd” and in 1990 with the “Memorial of Latin America.” History, language, images, poems, etc., channel hybrids within the consolidation process of cultural miscegenation. “The fusion, not infrequently with much confusion, of aboriginal Indians, Iberians, Africans and people from various latitudes, 3. The Latin American identity has been defined mainly by his novels and has been engraved in the memory of emancipation through Mexican painting and muralism. LeopoldoZea, in his introduction to the sources of Latin American culture, insists on integration by education and culture; It demands a greater diffusion of thought, literature and other aesthetic manifestations.

Plastic Arts

The great Mexican historian LeopoldoZea used to tell the following story. During a pre-Columbian art exhibition in Mexico City, the Mexican poet Octavio Paz accompanied the Minister of Culture of France, the writer Andre Malraux, who was moved and astonished by what he saw, said that “they”, the Europeans, had the Greek art, while “we”, the Latin Americans, had “that”, the vital art prior to the colony. The poet would have interrupted the minister then, and he would have answered something in these terms: “No. We have this and the Greeks. “At the crossroads of this history is a good part of the problematic about the cultural and artistic construction of Latin America, its identity, their problems of origin and the point of view of others on this whole issue.

More than being arrogant, the supposed response of Octavio Paz makes clear the idea, only developed in the twentieth century, that the Americas are an extension and a creation of European capitalism in its various expansionist phases, and that they also represent the consolidation of that process. In the mirror of the Americas, the European world can see both its own face and its opposite, in the same way that Americans (from the north, the center and the south) also see in the Western or European world (which they also integrate) , pray an image of your past, now a desire for the future; now an expanded identity, now an established difference.

This difference is verified because in the American continent the transplanted European culture – and naturally modified in function of that transplant and the new conditions in which it was integrated and built – joined  other equally transported cultures. But it also destroyed and violated as much as it could these other cultures, like the African one (through modern slavery, that other invention of European capitalism), especially strong in  Brazil  and  Cuba , and the native ones, outstanding especially in the Andean countries and in  Mexico .