ACTIVISM: & term used to describe an Haya de a Tone—founder of the Alianza artistic or political practice geared to Popular Revolucionaria Americana—and ‘contributing to social change. Artistic the creation ofthe Peruvian Socialist Party ‘ctivism does not necessarily coincide in 1928. The pages of Amsute included ‘with political or partisan activism, since dobates on literature and art, as well es the actione it entails are performed in and polities and identity. t gave visibility to from the cultural field. Regardless, the Jcal movements, such as José Sabogal intention in artistic ectivism is always to Indigenism, while also establishing bbe visible and to have consequences in international Yes with contributions from the grester public sphere. Artistic activism ‘Jorge Luis Borges, Miguel de Unamuno, ‘encompasses two major strategies: the [André Breton, and others, Mardtegui {formation of groups of artists or cultural edited some twenty-nine issues before ‘agents to express their condemnation of his death in 1990, after which three final ‘agiven situation; and activism in the work posthumous issues were published. itself, where the meaning of the work is determined by its connection to political ~AMIGOS DEL ARTE: & private son whtethencton ofartvmit -) assis forded n Buenos Ares Feparbe ton the story of moderian |. MBB Ingrdarsecommunioste wide ange rameenatearanangmentcrerand’”| toric diplnes thaisto gallos faites teteuestons the notonofomaic | _ 8ffhowsed agrest mary enbttors and.” ‘autonomy upheld by certain narratives of |.” othéraifiétiqactivities (concerts, lectures, mderart nite ene acivamien\f and pl} Amigos de hrte bere one Faopngattthegencagy ofthe evan | ofthe mot important nstton of ereatemastctige te duance | tes. The aroun ws patti between et and i es Sponto modem at wich was ily roc tednasienshaptof AMAUITA: agin rected by urnaist _aineveam ntttion te he Stn ndintelowual Joes CaloeMertagu Neola Museo cin For tublaned near rom 82610 190, thtrensn, Amigos del Ate was ab the ‘ere ayn Europe dng which e pli smentexeaieeuchon Fmbipetedttecvertstureunding the the on cuoudg the cn 125 faundngofhelslan communes ary, by Future pret Fone Marine NensteguretuneatoFeruHininenton, gue condemned on the eal sane for bonticarval wastocoorinatette,” —supporing re lan frit moveren. various progressive forces that had taken ‘shape In Peru pursuant tothe University ANTHROPOPHAGY: Concept for Reform of 1918, tilly, Amauta eet out which the artistic movernent based on a tobe a platform forthe left in the widest painting by Tarsia do Amaral and a text sense, butt ew narrower in scope ater bby Oswald de Andrade—both produced ‘the spit between Mariategul and victor in 1928—was named. Looking to theimage of an indigenous figure swallowing his eaptve to incorporate his power, de ‘Andrade turned anthropophagy into @ metaphor for Brazilian cultural identity His proposal attempted to forge a new symbolic and aesthetic universe by means of the appropriation and reconfiguration of | the European inheritance—the languages and experiences ofthe historical avant gatdes in the ream of arts and eters. His ‘metaphor effects areversal. ofthe power {elations between European “centers” and “Tain American “periaheries’ The act of. “swallowing up" did not, according to his formulation, ental dependence, but rather an advantage insofr as the “cannibal. “Higséied the foreign culture to transform maintain thet Oswald de Andrade came up with the metaphor of anthropophagy after Tatsila do Amaral—his partner atthe time— gave him the painting Abapor, inspired by the Tup- studies took the shape of an “academic mode" of exportation that brought with it the erasure ofthe historical density of Latin America and the loss of many local Intellectual traditions ike the critical essay. Cultural studies ended up constructing ‘an “industry ofthe academic paper" that ‘contributed to cultural homogenization by spreading certain languages and frameworks of analysis. To combat this state of affairs, Richard proposed the notion of cultural criticism, which consists ‘of combining a number of perspectives (the philosophy of deconstruction, ritical theory, and neo-essayism) to explore the borders, those zones of greatest institutional disintegration where “minor” practices and aesthetics that do not fit Into the normalized categories of cultural studies take shape. From this perspective, It ie possible to envision modelitos that clorupt the distibution of power under the dominant monocultursl paradigm of Western reason. DEMATERIALIZATION: Concept dasatopr by Prentns xtc Over Mowots inthe lt siento describe | eetenateria eee en Masotta, modern art brought with ita new imperative for etwort thy hat foots nration bout ha pot oe tbeut the fluro art history acting an tiinkina sequent development where patie cote eee ae ‘new alternatives embraced. This negative | logic had led to an incipient negation of traditional genres such as painting and sculpture a they were replaced by now formats lke the happening. The idea of