José Luis Falconi - Böcker

For more than a decade the Mexico City–based artist, architect, and cultural agent Pedro Reyes has been turning existing social problems into opportunities for effecting tangible change through collective imagination. By breaking open failed models and retooling them with space to project alternatives, Reyes’s art enables productive diversions of otherwise destructive forces. Ad Usum: To Be Used is the second volume in the series Focus on Latin American Art and Agency, which is dedicated to contemporary cultural agents, a term that is perhaps best understood through the words of Reyes himself: “changing our individual habits has no degree of effectiveness” as “progress is only significant if you start to multiply by 10, by 100, by 1,000.” Rather than merely illustrate his work, this collection of images, interviews, and critical essays is intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good.This full-color illustrated survey of Reyes’s projects includes critical essays by José Luis Falconi, Robin Greeley, Johan Hartle, Adam Kleinman, and Doris Sommer, as well as interviews between the artist and such seminal thinkers as Lauren Berlant, Michael Hardt, Alejandro Jodorowsky, and Antanas Mockus.

The Other Latinos addresses an important topic: the presence in the United States of Latin American and Caribbean immigrants from countries other than Mexico, Cuba, and Puerto Rico. Focusing on the Andes, Central America, and Brazil, the book brings together essays by a number of accomplished scholars.Michael Jones-Correa's chapter is a lucid study of the complex issues in posing "established" and "other," and "old" and "new" in the discussion of Latino immigrant groups. Helen B. Marrow follows with general observations that bring out the many facets of race, ethnicity, and identity. Claret Vargas analyzes the poetry of Eduardo Mitre, followed by Edmundo Paz Soldán's reflections on Bolivians' "obsessive signs of identity." Nestor Rodriguez discusses the tensions between Mexican and Central American immigrants, while Arturo Arias's piece on Central Americans moves brilliantly between the literary (and the cinematic), the historical, and the material. Four Brazilian chapters complete the work.The editors hope that this introductory work will inspire others to continue these initial inquiries so as to construct a more complete understanding of the realities of Latin American migration into the United States.

In 2003, Jorge Mario Múnera won the Latino and Latin American Art Forum Prize at Harvard University, which entitled him to produce and present an exhibit at Harvard’s David Rockefeller Center for Latin American Studies. By this time, Múnera had already produced an important body of work, revealing even the farthest corners of his native Colombia through his photographs of people and their traditions.Portraits of an Invisible Country, which bears the name of the exhibit he presented at Harvard in 2004, is the culmination of a five-year collaboration between the photographer and the curator of the show, José Luis Falconi. It comprises a book of essays with insightful reflections on Múnera’s diverse body of work and a series of sixteen photo posters, which together highlight the photographer’s travels within Colombia and his careful depiction of his countrymen and women.Renowned in Colombia as one of the most prolific and influential photographers of his generation, Múnera was the first recipient of the National Photography Award in Colombia in 1998. Since then, numerous international accolades have followed, chief among them as the first photographer to hold the Andrés Bello Chair of the King Juan Carlos Center at New York University.