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Luis Camnitzer’s Conceptualism in Latin Amrerican Art

  • Journal of History of Modern Art
  • 2025, (57), pp.229~252
  • DOI : 10.17057/kahoma.2025..57.010
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : April 30, 2025
  • Accepted : June 3, 2025
  • Published : June 30, 2025

SHIN HYESUNG 1

1서울여자대학교

Accredited

ABSTRACT

This paper analyzes the argument of Uruguayan art critic Luis Camnitzer on conceptualism in Latin America. “Conceptualism” is a term that emphasizes the difference between the periphery and the mainstream with the awareness of the postcolonial structure of the art world. Camnitzer explains that the dematerialization of conceptualism was not the result of art historical reductionism as in conceptual art, but only a reduction in dependence on materiality due to the conditions of real life. He also argues that the textualization of conceptualism was used not for self-referential language analysis, but for clear and efficient communication. As expressed in the title of his book, Didactics of Liberation, he has a perspective on decolonial humanities from Latin America, including liberation theology. Since he places great value on the political capacity of conceptualism in Latin America, he regrets that 1970s conceptualism has changed in a way to weaken its political nature and criticizes art that pursues local identity while excluding politics. Camnitzer particularly focuses on the educational aspects of conceptualism in Latin America, and emphasizes the importance of art education as having the potential to be a great tool of cognition, because it can treat the absurd and the impossible as objects of knowledge.

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This paper was written with support from the National Research Foundation of Korea.
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