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This dissertation revisits modern art in Latin America. The paradoxes of the Latin
American avant-garde discourse, which uses modern ideals in order to create a
culturally decolonised identity freed from Eurocentrism, are confronted to the theory
defended by the decolonial thinking according to which coloniality is inherent to
modernity. Through the examination of the texts and paintings of Alejandro Xul Solar
and Joaquín Torres-García, two artists who participated in the renewal of the
vanguard scenes of Argentina and Uruguay between the 1920s and the 1940s, my aim
is to understand whether modern art is – as decolonial thinkers imply – doomed to
reproduce coloniality, or if it can conversely allow to undermine it. The analysis of
their works first shows their discourses as entrenched in a narrative of modernity that
indeed proves to be a fallacious mirror of coloniality. The focus on abstraction and on
the thinking and communicating ‘other’ it produces, nevertheless leads me to question
the decolonial premise. I finally conclude that the aesthetic freedom brought by the
avant-garde allowed Solar and Torres-García to, in some cases, avoid reproducing
coloniality, but does however not make them decolonial artists.
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Comunicação Sector imobiliário Arrendamento