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New York Latin American Art Triennial

Trienal de arte Latinomericano de NY

It is a great pleasure for the Bronx Hispanic Festival Inc., to invite you to joint us for 2019 edition of New York Latin American Art Triennial celebration throughout the city of New York, showcasing panels of discussion, art exhibitions, urban installations and performances by artists from Argentina, Bolivia, Chile, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Spain, Guatemala, Honduras, México, Nicaragua, Panamá, Paraguay, Perú, Puerto Rico, Dominican Republic, Uruguay and Venezuela.

The 2019 version of the LAAT under the title, Progressive transition, the main objective is to create awareness in the arts by developing an international network with Latin American artists, as well as establish the opportunity to exhibit the best of their works. The event is to motivate the creative mind and challenge the contemporary global art community. These group exhibitions, will present art as an expression of the human condition and it reflects the notions of progress, civilizations, welfare, society and culture. NY Latin American Art Triennial is aimed to arts appreciation and cultural intern exchange, exhibits will be open to the public during the months of September throughout December 2019. All the events are family oriented. As well as celebrates not only the richness of the Latin American art but also the diversity of our community.

Progressive Transition

The New York Latin American Art Triennial in the core of its intent and curatorial structures examines transition as the process or a period of changing from one state or condition to another as well as its implications for contemporary debates on Latin American Culture, its arts and creative manifestations. The theme and explorations in “Progressive Transition” has exceeded the specific within the present to become inextricably linked to the constant growth, and transformation within the scope of Latin American Art and its creative exponents. Curatorially the project proposes to closely examine the tendency for artists to identify that they are part of something, which is recognized, and defined by others. The series of exhibiting events that comprise The New York Latin American Art Triennial activates Transition in a specific new view, and objectively analyze its art-content. The Triennial does not attempt to describe a practice but a general “being in the context”. The art selected for this edition represents artist operating within a conceptual cartography of the general transition by means of value, as a progressive expression in a personal level, and which present it in a collective stage. The meaning of Progressive Transition is being redefined by a new art historical approach that is focused on its products and ideas,


In recent year’s artists, curators, writers on art, and art critics, have shown a preference to speak of "Art in Latin America" instead of "Latin American Art", as a de-emphasizing emerging convention that attempts to underline, construction of an integral, emblematic Latin America, or any globalizing generalization. Nevertheless, to stop being "Latin American Art" means to distance of Art in Latin America, and to highlight the extraordinary variety of creative production on the continent. This means that currently, we are going through a phase in which, a new terminology and means of delineation will be proposed. It is therefore necessary for artists to engage with this process of re-describing what gets made now.

Latin American Art is beginning to be valued as art without surnames. However, the transcendence of memory and history allow for compelling changes. In the global space, where we are all migrants, there is a need for group reaffirmation in their quest for healing, regarding the spaces left behind. As a trend, the transition seeks under a regional or gender reference a way of self endorse. In the same way that muralism in Mexico marks a reflection of encompassing social / national content. Currently, the class struggle give rise to new identity. For example, terms used in the US such as Newyorican, Chicano, Latinx, resonate in the artistic cultural aspect and reaffirms an inheritance, though overcoming grammatical contradiction that by neology magic pursues to reconcile the memory of what one is. Solidifying the unending effort to have a permanent quality presence in the aspect of racial ethnicity, semantics of gender as well as sociopolitical condition. The topic is increasingly becoming a target of conversation and discussion within academic circles in the United States.


Our project-based approach creates a hypothetical method that endorses the mutable-collective. All processes contributing to a matrix of existing forms and justifying them by continued reappearance. Each artwork is always answering questions about itself and all other artworks. It used to be said that Art is like theoretical physics, tautological, a specialization with a small audience. We are building receptive audience of resistance to the encompassing whole notion of what we are.


As with the concept of Transition, these notions respond to relevant social processes taking place in such a complexly diverse milieu as Latin America with its contrasts of all type, cultural, racial variety and its multiple coexisting temporalities. Nevertheless, it is problematic to use fusion as emblems to tag Latin America or the post-colonial world, because as a matter of fact there is no culture, which isn't a hybrid one. This does not mean that such notions do not possess a particular utility to analyze post-colonial culture. Since hybridization processes were especially important for its formation under a vast span of differences, situations of political, or financial power.


There is no other region in the world where such a massive racial and cultural blend has taken place. Yet, a problem with all notions based upon synthesis is that it tends to erase imbalances and conflicts. Even worse: it can be used to create the image of a fair and harmonious fusion, disguising not only differences but also contradictions, and flagrant inequalities under the conception of an integrated, like in religious syncretism, Omni-participative nation, as one can clearly see in the cases of Mexico, Cuba and Puerto Rico. These artists are aware of the non-existent vital or artistic authenticity outside of what they themselves need to express, and this crucial and essential awareness allows them to offer a rich visual universe which enhances their current creative cultural heritage. Also, in this sense artists intend to challenge, and or influence receptive and sensitive audiences, whereas Progressive Transition suggests the controversy produced by artists in their attempt to push the boundaries questioning the premises, on which Art had longed been based.


The artists presented in The New York Latin American Art Triennial, belong to multiple generations and communicate their ideas and beliefs through their creative works. Raising public awareness on current issues such as migration, religion, social justice, history, and environmental awareness among other subjects, in the attempt of redefining the foundations of Art, and to closely examine the addressed issues.

The flexibility of Contemporary Latin American Art as a term is no longer capable of encompassing all dynamic current art. An increasing number of artists seek to radically differentiate their work from other art. It is increasingly the fact that the definition has been taken up by auction houses, and new art history departments as a way to talk about a generalization of subjectivities that no longer include those who work hard to evade its reach.


It is a reality that Latin American Art benefits from the rise of artists living and working all over the world who circulate internationally and exercise influence upon emerging creative generations. This makes possible and facilitates inter-contextual communication. The active, diversified construction and re-invention of Contemporary Art and its international representation by a multitude of subjects who operate from their perspectives pointed out not only to a transition of art but also its transformation from divergences to convergence.  


On the other hand, nowadays artists participate in the dynamics of an international art stage, expanding its capacity for dense and refined meaning in order to deal with the complexities of societies and cultures where multiplicity, the progress of transition. This is one of the changes enacted with respect to the totalizing paradigms mentioned above, given that these paradigms procured a characteristically Latin American Art right from the start.


New artists have broken away from the marriage between art and nationality or regional identification that has affected Art in Latin America. This does not mean that there is no Latin American based concept in their work, or even that one cannot point to certain identifying traits of some countries or areas. The crucial distinction lays in the fact that these identities begin to manifest themselves more by their features as an artistic practice than by their use of identifying elements taken from folklore, religion, the physical environment or history. Since 1900 idealistic quality of Hispanic American thought identitario - culturalista del el arielismo that refers to the term as a neologism derived from José Enrique Rodo's analysis.


For many years Latino artists have been concerned with boundaries and transcending them. It has also been about how identities form, prove themselves and transform along their boundaries. Thus the work of contemporary artists does not speak from a specific place but from their condition of transience, therefore, their context cannot be a place (a country) but the contact zone where different cultures meet every time they stop in their routes. Since the seventies is accentuated a concept that insists on a break with uniformity favoring difference and plurality in contemporary society. Paradoxically enough, the critical situation facing the Contemporary Latin American Culture has not given birth to a complaining, bitter, itching, depressive art. Due perhaps to the principle that adversity should be met with an optimistic attitude, artists have, in this sense gone well beyond every expectation. Furthermore, the dialogue we are establishing within The New York Latin American Art Triennial exhibiting events is that Progressive Transition necessarily comprises different generalization of artists that have shifted towards becoming part of history.


NOTES: ………Freedberg, D.( 1991)The Power of Images: Studies in the History and Theory of Response. University of Chicago Press, USA ………Alexis Mendoza, America Latina, La Cultura y El Hombre Nuevo, pp. 11-112-23. Wasteland Press,2006. ………Gerardo Mosquera, "El Arte Latinoamericano deja de serlo," ARCO Latino, Madrid, 1996, pp 7-10. ………Frederico Morais, Las Artes Plásticas en la América Latina: del Trance a lo Transitorio, Casa de las Américas, Havana, [1979] 1990, pp 4-5. ………Olu Oguibe, "In the Heart of Darkness," Third Text, no. 23, Summer 1993, pp 3-8. ………V.Y.Mudimbe, The Invention of Africa, (Indiana University Press, Bloomington, and Indianapolis), 1988. ………Mónica Amor, "Cartographies: Exploring the Limitations of a Curatorial Paradigm," Beyond the Fantastic. Contemporary Art Criticism from Latin America, ed. Gerardo Mosquera, (Institute of International Visual Arts, London/MIT Press, Cambridge), 1995. ………Jean Fisher, "Editorial: Some Thoughts on "Contaminations," "Third Text, London, no. 32, Autumn 1995, pp 3-7. ………Boris Bernstein, "Algunas consideraciones en relación con el problema "arte y etnos," Criterios, Havana, nos. 5-12, January 1983-December 1984, p 267. ………Gerardo Mosquera, "Lenguaje internacional" Lápiz, Madrid, no. 121, April 1996, pp 12-15. ………Ana Maria de Moraes Belluzzo in conversation with the author. ………Thus the subtitle of my anthology from 1995.………The insistence of quotation marks stresses the reductive meaning within which it is still appropriate to use this term. ………From Latin American Art to Art from Latin America. ArtNexus #48 - Arte en Colombia #94. Apr - Jun 2003. Gerardo Mosquera ………The argument against the use of the term “Latinx”November 19, 2015, Gilbert Guerra and Gilbert Orbea 74 Comments Latin American Studies, Latinx, linguistics



-ALEXIS MENDOZA Triennial Chief Curator: Artist, Writer and Curator, National School of Fine Art San Alejandro (1988), graduated in Art History from Havana University (1994), Member of the Bronx Hispanic Board, Co-founder of the Bronx Latin-American Art Biennial.  Alexis Mendoza exhibited his artworks in museums and galleries around the world in countries such as: Argentina, Brazil, Chile, Costa Rica, Cuba, France, Germany, Mexico, Netherlands, Romania, Spain, Switzerland, and United State. Alexis Mendoza is also an Author of books, ―Latin America, The Culture and the New Men‖, ―Objective Reference of Painting: The work of Ismael Checo, 1986-2006‖, and REFLECTION: The Sensationalism of the Art from Cuba.


-LUIS STEPHENBERG Triennial Director: Artist and Curator, with more than 30 years working in favor of the arts, graduated from Puerto Rico School of Visual Arts and a Master Degree from the Institute of San Miguel Allende, Mexico.  Luis Stephenberg, has dedicated his career to studying the concept of what is art. In the late 70’s Luis Stephenberg is co-founder of the Synthesis Movement Update (Movimiento Sintesista Actualizado). He is also co-founder of the Bronx Hispanic Festival.  His artworks are part of an important collection in Mexico, Puerto Rico, Peru, and United State.



Associated Curators :


Advisor Committee:





Loisaida Center Gallery

710 E.9th Street

Lower East Side, NY 10009


Longwood Gallery @ Hostos

Address. 450 Grand Concourse, C-190;

Bronx, New York 10451 


Lehman College Art Gallery

250 Bedford Park Blvd W.

 Bronx, New York 10468



Bronx Art Space

305 E 140th St, Bronx, NY 10454



1. Open to all Latin American artists residing in any part of the world, 18 years or older. Open for all fine arts categories including video, performance, etc. The artworks must be original artworks by the artist present it.


2. The artists can submit 5 artworks only 1 or 2 will be select. 


3. The dimensions of the artworks are designated by curatorial team. All artworks  must be ready to be hung, framed and/or with instruction if need it.


4. The artworks must accompany with the entrée form bellow. Preferable option  is digital form please find ink below:



a) Artist’s name, address, telephone, e-mail, country, biography, concept or statement of the artworks presented.


b) Artwork title, medium, year, dimensions.


c) Up to seven Digital Images of the artworks




1. Deadline to send artworks


2. The artworks must send in reusable material, cardboard box, plastic or cardboard tubes.


3. The artists are responsible for the shipments of the artworks to and from the Trienniall, for any insurance, etc. The NY Latin American Art Triennial, will not be responsible for any damage to the artworks during the transportation.   The organizers will commit to a high level of security and safety with the artwork after arrival to the event storage . 


4.The artworks are not to be return before the events ends


5. Invited artist are subject to particular arrangements with curatorial team previously to the participation





1. The Organization Committee has the right to photograph, reproduce images of the artworks in the Triennial for promotional, educational, web sides catalog and invitations purpose during the time of the event.


2. Artworks are allow to be for sale at the artist choice.


3. If any artworks if not claimed in ONE year period the Organization Committee will take ownership of the artwork.


4. The artists can’t remove the artworks from the event before its end.




May, 26 2019, Last date to respond.


August 27 2019, all works should ready at NY location( contact curator to confirm any change)


September, 14 2019, Open inauguration of the first venue


December, 30,  2019 Closing of the event ( some show will be open untin January 27 2020





To be announce