Vol. 23 No. 43 (2019): The artistic vanguards in Bolivia

Las vanguardias artísticas en Bolivia

In the month of July, we participated in the X International Congress of the Association of Bolivian Studies, held in the city of Sucre, specifically in the table "The Bolivian artistic avant-garde (1925-1952)", where it was decided to publish an issue of the Ciencia y Cultura journal with the various results of these activities, expanding the theme to other artistic expressions that are the result of the particular national cultural process, characterized by diversity and the rescue and appropriation of the indigenous ancestral heritage, such as the Great Power festival.

Published: 2019-12-06

Presentación

Artículos y estudios

  • Imaginary Geographies: The Multiple Spaces of the City in Walter Montenegro’s Narrative

    Javier Velasco Camacho
    9-25
    DOI: https://doi.org/10.35319/cyc.2019431177
  • Speaking from Deep within Our Insides: Humanism, the Nation, and the Condition of Women in Yolanda Bedregal

    Enrique Riobó Pezoa
    27-48
    DOI: https://doi.org/10.35319/cyc.2019431178
  • The Painful Existence of the Tragical Hero. Reflections about Arturo Borda

    Fernando Arce Hochkofler
    51-77
    DOI: https://doi.org/10.35319/cyc.2019431180
  • The Pictorial and Poetic Monster: Insurrection and Avant-garde in Author Luis Luksic

    Fernanda Verdesoto Ardaya
    79-97
    DOI: https://doi.org/10.35319/cyc.2019431181
  • Romantic Love in the Dances and Songs of the Festivity of the Gran Poder

    Bismarck Pinto Tapia
    99-118
    DOI: https://doi.org/10.35319/rcyc.2019431183

Ensayo visual

  • Tiwanaku: a reading from the vanguards

    Valeria Paz Moscoso
    120-142
    DOI: https://doi.org/10.35319/cyc.2019431176

Dossier

  • The Ancient Tune: Writing and Phonetic Symbols in Ramún Katari

    Alan Castro Riveros
    145-157
    DOI: https://doi.org/10.35319/cyc.201943627
  • Painting and Photography, Painters and Photographers in the Time of Juan Rimša in Bolivia

    Pedro Querejazu Leyton
    159-181
    DOI: https://doi.org/10.35319/cyc.201943480
  • The Modern View of Juan Rimša

    María Isabel Álvarez Plata P.
    183-198
    DOI: https://doi.org/10.35319/cyc.2020451193
  • In Search of José María Velasco Maidana

    Cergio Prudencio
    201-207
    DOI: https://doi.org/10.35319/cyc.2019431190
  • Visual Construction of the City of La Paz, as Seen by Bolivia Films

    L. Sergio Zapata Pinto
    209-222
    DOI: https://doi.org/10.35319/cyc.2019431191
  • Our Sunday: Epistolary Chronicles between Yolanda Bedregal and Iván Rimša

    Alejandra Echazú Conitzer
    225-239
    DOI: https://doi.org/10.35319/cyc.201943539
  • Amerindia: a Vestige, a Quest, a Path. On the Beginnings of Theatrical Dance in Bolivia

    Tania Delgadillo Rivera
    241-248
    DOI: https://doi.org/10.35319/cyc.201943490
  • Three Indigenisms through Literary and Cultural Journals and Magazines (1930-1950)

    Pedro Omar Rocha Velasco
    251-259
    DOI: https://doi.org/10.35319/cyc.201943441
  • “Crossing the Country in Its Infinite Directions”: Institutions, Works, Visions (Argentina, 1920-1950)

    Georgina G. Gluzman
    261-270
    DOI: https://doi.org/10.35319/cyc.2019431188
  • Modern and American: The Arts in the Cuzco-Buenos Aires Route

    Rodrigo Gutiérrez Viñuales
    273-281
    DOI: https://doi.org/10.35319/cyc.201943543
  • Pío Collivadino and the Academia of Fine Arts of Buenos Aires

    Laura Malosetti Costa
    283-295
    DOI: https://doi.org/10.35319/cyc.201943596
  • The Style is the Nation: Tiwanaku as the Origin of the Work of Cecilio Guzmán de Rojas

    Valeria Paz Moscoso
    297-312
    DOI: https://doi.org/10.35319/cyc.201943493
  • Art and the Public. Contact Spaces in La Paz (1930-1950)

    Silvia Arze Ormachea
    315-328
    DOI: https://doi.org/10.35319/cyc.201943599