{"product_id":"the-counter-public-sphere-in-the-condor-years","title":"The Counter-Public Sphere in the Condor Years","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv title=\"Page 10\" class=\"page\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"layoutArea\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"column\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis illustrated publication examines the symbolic and often surreptitious modes of artistic production that took root amid the brutal military dictatorships resulting \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003efrom the US­-backed Operation Condor in South America. Where artists could not explicitly represent violent realities, they turned to allusive and public inter­ventions to mount dissent. Produced \u003c\/span\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-fragment=\"1\"\u003eon the occasion of the exhibition \u003c\/span\u003e\u003ca href=\"https:\/\/islaa.org\/exhibitions\/exhibition-2020-10-counter_public_sphere\"\u003e\u003cem\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-fragment=\"1\"\u003eThe Counter-Public Sphere in the Condor Years\u003c\/span\u003e\u003c\/em\u003e\u003c\/a\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\" data-mce-fragment=\"1\"\u003e, this publication features an essay by artist and exhibition curator Nicolás Guagnini on the work of CADA and Lotty Rosenfeld in Chile, Antonio Dias in Brazil, and Horacio Zabala in Argentina during the late 1960s and 1970s, alongside an essay by curator Tobi Maier on the role of the flag in Dias’s work.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Institute for Studies on Latin American Art (ISLAA)","offers":[{"title":"Digital","offer_id":41543032635451,"sku":"PU.EX.CPS.DIG","price":0.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0590\/4406\/9435\/files\/9_1_8eacaaad-0105-45d0-84f1-70a877fc0e74.jpg?v=1694707819","url":"https:\/\/institute-for-studies-on-latin-american-art-islaa.myshopify.com\/products\/the-counter-public-sphere-in-the-condor-years","provider":"Institute for Studies on Latin American Art (ISLAA)","version":"1.0","type":"link"}