Taking its cue from Argentinian artist Marta Minujín’s seminal Simultaneidad en Simultaneidad (1966), which proposed a collaborative Happening between three countries in real-time, this course casts aside reductive concerns of primacy and originality and focuses instead on this notion of simultaneity. Exploring the multitude of artists’ engagement with political issues in 1960s and 70s Americas, it asks, how did artists enlist key tropes of artistic production of the period to wrestle with their specific political issues? Focusing on the work of artists in Argentina, Brazil, and the US, we study artworks by Minujín, David Lamelas, Cildo Meireles, Lygia Clark, Sonia Andrade, Artur Barrio, Allan Kaprow, Carolee Schneemann, Mierle Laderman Ukeles, Ana Mendieta, and ASCO, among others. Reading widely, from Marshall McLuhan to Timothy Morton, looking closely at art across a range of media with particular attention to the use of unusual materials, new technology, and body practices, and considering such material engagements with particular sites, this course takes an approach of productive juxtaposition to demonstrate the value of thinking across national borders and formal boundaries.


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