Tracing Conceptualism in Guatemalan Art (1954-2011)

Abstract

This essay explores the relationship between concepts such as political art and art as a strategy of political action (Camnitzer, 2008), as well as power over and power to do (Holloway, 2002) in Guatemala (1954-2011). Within this framework, this work situates the conceptualist practices in the country, also mediated by war (1960-1996) and exile; and studies the role of Costa Rica as both a haven for exiles and epicenter of Central American artistic relations. Guatemalan conceptualism, and Central American conceptualism in general, is still relatively unknown given the lack of archives, documentation and research that take this period into account. Nevertheless, conceptualist art practices stayed vibrant well into the 21st century due to the persistence of the original social conditions and the artistic transnational networks that validate them. At least until the Guatemala elections of 2011, in, conceptualism was as much part of the political as the artistic language.