(Note de l'éditeur: Usage éditorial seulement) une installation et plusieurs affiches de "séries d'illustrations sur le Nicaragua" vues pendant l'exposition "Giro grafico. Como en el muro la hiedra', au musée Reina Sofia. Cette exposition a été réalisée par le réseau des Conceptualismes du Sud, fait une tournée d'initiatives graphiques de 1960s à nos jours sur les contextes d'urgence politiquement oppressifs en Amérique latine. Tour graphique. Comme sur le mur, l'ivy est le résultat d'un long processus de recherche collective réalisé par le Rouge de Conceptualismos del sur en collaboration avec la Reina
Cette image peut avoir des imperfections car il s’agit d’une image historique ou de reportage.
(Editor's Note: Editorial Use Only) An installation and several posters of "Series of illustrations about Nicaragua" seen during the exhibition 'Giro grafico. Como en el muro la hiedra', at the Reina Sofia Museum. This exhibition was carried out by the Network of Conceptualisms of the South, makes a tour of graphic initiatives from the 1960s to the present on politically oppressive contexts of urgencies in Latin America. Graphic spin. As on the wall, the ivy is the result of a long process of collective research carried out by the Red de Conceptualismos del Sur in collaboration with the Reina Sofía Museum. The exhibition proposes a journey through the graphic initiatives that, from the 1960s to the present, have confronted contexts of politically oppressive urgencies in Latin America, articulating strategies of transformation and resistance that radically changed the ways of doing, their way of establish intersubjective links, build communities and even the very circulation of graphic media. With the aim of investigating how these collective procedures made the different social demands visible, the exhibition brings together a wide selection of those materials and slogans that circulate quickly and efficiently outside the field of art, from different origins and latitudes, which have in common both the precariousness of the components and the media, as well as their graphic and distribution potential that activates them as revolutionary triggers. In this sense, movements for indigenous rights, struggles for the memory of the victims of the dictatorships in Chile, Argentina, Peru or Uruguay, queer activism or feminism, intersect and rise as producers of posters and banners, t-shirts, interventions in the urban space, performances or street actions, which make up a complex set of experiences traversed by ties of solidarity, affinity and influence between the various countries treated. Thus, the exhibition understands the notion of graphics in an expanded sense and t
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