Escena de Avanzada or the Possibilities of a Lain American Avant-Garde
In this paper I would like to question the "avant-garde" condition attributed to "Escena de Avanzada", a Chilean artistic group baptized by the art and cultural critic Nelly Richard. The "Avanzada" artists —the CADA group (Lotty Rosenfeld, Diamela Eltit, Raúl Zurita, etc.) and Eugenio Dittborn among others, are reunited under this name— emerged in Chile during the first years of the dictatorship of Augusto Pinochet, in the late 1970s and early 1980s. They appeared in a context of political repression, censorship and obliteration of the public space. The same word "Avanzada" means "avant-garde". Nevertheless, the very notion of avant-garde suposses a linear conception of history, a direct intervention in the public space in order to reunite life and art, and an open desire for the new. The Avanzada artists break with the traditional agenda of artistic avant-gardes, for its peripheral condition al Latin American artists living in a context of political repression.
Keywords: Escena de Avanzada, Latin American Art, CADA group, Eugenio Dittborn
Valeria de los Ríos
Professor, Instituto de Humanidades, Universidad Diego Portales