Abstract
This paper considers curatorial issues considering accomplishments in installation art around Latin America, especially as such art involves a transformation of media combining old and new media, biological and dry objects combined at installation art practice. Recognized artists, from various countries in Latin America, propose a revival of cinema, video, bio art and virtual reality crossing analogical audiovisual with innovations in-between genres and technologies. The shows by Andrés Denegri, Gilbertto Prado, José Alejandro Restrepo and Gerardo Suter in Buenos Aires, Mexico City and Salta assume special relevance at a time of technical transitions, political change, social violence, and immigration crisis. This text is related to my work as curator, and was exposed at the ISEA panel Penumbra in faint light: contemporary art and technology in Latin America, Korea, 2019 organized by Reynaldo Thompson, on the basis of three perspectives: “(a) networking (b) collective art and (c) search of alternative circuitry.” In that presentation these events were related with one the last pieces of Nam June Paik, A Monster of Gazed, working with archives of video pieces by Latin American artists and articulated on the basis of the practice and concept of the installation art.