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Art, Global Maoism and the Chinese Cultural Revolution$
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Jacopo Galimbert, Noemi de Haro García, and Victoria H. F. Scott

Print publication date: 2020

Print ISBN-13: 9781526117465

Published to Manchester Scholarship Online: May 2020

DOI: 10.7765/9781526117472

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PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 12 August 2020

Maoist imaginaries in Latin Americanart

Maoist imaginaries in Latin Americanart

Chapter:
(p.269) 14 Maoist imaginaries in Latin Americanart
Source:
Art, Global Maoism and the Chinese Cultural Revolution
Author(s):
Ana Longoni
Publisher:
Manchester University Press
DOI:10.7765/9781526117472.00019

The social inequalities and dictatorial regimes of Latin America also fostered diverse and powerful Maoist movements. Ana Longoni focuses on several case studies to analyse the impact of Maoism in Argentina, Colombia and Peru. In the case of the artist Juan Carlos Castagnino, who is often considered to be the official painter of the Argentinian Communist Party, she emphasises how his relationship with China informed both his politics and his practice. She also compares the Argentinian artist Diana Dowek and the Colombian Clemencia Lucena in relation to the theories developed by the Argentinian writer Ricardo Piglia, who was close to Maoist positions in the 1970s. The subsequent case studies presented concern the Colombian art group Taller 4 Rojo, which developed a wide range of pedagogical projects, and the ‘Black Folder’ created by the Peruvian collective Taller NN, whose subversion of the image of Mao was considered to be unacceptable by Maoists and anti-Maoists alike in the violent context of Peru.

Keywords:   Argentina, Colombia, Peru, Mao, Maoism, art, Diana Dowek, Clemencia Lucena, Ricardo Piglia, Taller 4 Rojo, Taller NN

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