Abstract
The following study focuses on the political and artistic debate in the artistic production in Latin America that have developed a decentering model of the historical questions which have resulted in an imaginary intervisual which is open to multiple visual and intellectual associations of a diasporic nature. Also is discussed the multimedia creations made by relational aesthetics of Bourriaud that is offered to the cultural industry as a new movement where the social uses of the work of art is reinventing, or simply arise by spontaneous generation. We bring different visions that not only will draw evolutionary lines of what art is, from participative to its relational drift, but also to confront ideologically the political constitution of the work of art of Latin American diaspora. The case studies focus on audiovisual and performative works by Francis Alÿs, Dominique Gonzalez-Foerster and Douglas Gordon.
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