Latin American Art || Nelbia Romero

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  • Nelbia RomeroAuthor(s): Luis CamnitzerSource: Art Journal, Vol. 51, No. 4, Latin American Art (Winter, 1992), p. 12Published by: College Art AssociationStable URL: http://www.jstor.org/stable/777276 .Accessed: 15/06/2014 20:03

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  • Nelbia Romero URUGUAY

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    Nelbia Romero and collaborators, Sal-si-puedes, 1983, detail of installation with texts, music, photography, and performance. Galeria del Notariado, Montevideo.

    For more than a century, Uruguay has prided itself in being a

    country without Indians, who, not coincidentally, had been exterminated. The same Chani-Charruia nation that formed the personal guard of General Jose Gervasio Artigas (known as the father of Uruguayan independence) became a bother- some and unbearable presence for important sectors of the new republic (as much the big landowners as the Euro-

    peanized intellectuals) shortly after Artigas was defeated. The first elected president of the republic, his secretaries, and the parliament shared the questionable honor of planning and carrying out this genocide. The massacre took place in

    Salsipuedes, where the Charruias had been led deceitfully, were made drunk, and then decimated. It was April 10, 1831.

    The survivors, mainly children, women, and the aged, were dispersed among families in the capital, or given to transient

    foreigners. The merciless persecution of a people, their de- struction, the misrepresentation of the facts and motivations, as well as the systematic imposition of oblivion concern us

    deeply as human beings, as Latin Americans and

    Uruguayans, as participants in the making of culture.-

    NELBIA ROMERO is a graphic artist who has done installations, performances, scenography, dance and theater costume, and audiovisual projects.

    WINTER 1992

    12

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    Article Contentsp. 12

    Issue Table of ContentsArt Journal, Vol. 51, No. 4, Latin American Art (Winter, 1992), pp. 1-111Front Matter [pp. 1-108]Artists' PagesRecent Latin American Art[Introduction] [p. 6]Herman Braun-Vega [p. 7]Guillermo Gmez-Pea [p. 8]Marina Gutirrez [p. 9]Patricia Israel [p. 10]Ricardo Rodrguez Brey [p. 11]Nelbia Romero [p. 12]Jonas dos Santos [p. 13]John Valadez [p. 14]Carlos Zerpa [p. 15]

    Editors' StatementThe Columbus Quincentenary and Latin American Art: A Critical Evaluation [pp. 16-20]

    Translating 1492: Mexico's and Spain's First National Celebrations of the "Discovery" of the Americas [pp. 21-29]Africa in the Art of Latin America [pp. 30-38]The Virgin of Guadalupe: Symbol of Conquest or Liberation? [pp. 39-47]"Civilizing" Rio de Janeiro: Four Centuries of Conquest through Architecture [pp. 48-56]Postmodern Disalignments and Realignments of the Center/Periphery [pp. 57-59]Beyond "The Fantastic": Framing Identity in U. S. Exhibitions of Latin American Art [pp. 60-68]Recapturing History: The (Un)Official Story in Contemporary Latin American Art [pp. 69-80]Exhibition ReviewsReview: Gertrude Ksebier and Helen Levitt [pp. 83-85+87+89]Review: Chiefly Feasts [pp. 91-93]

    Book ReviewsReview: 19th-Century American Painting [pp. 95+97]Review: Feminism and Impressionism [pp. 99+101+103]Review: The Museum [pp. 103-106]Review: Cubist Poetry [pp. 106-107]

    Books and Catalogues Received [pp. 109-111]Back Matter

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