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Álvaro Fernández Bravo: Putrid, Precarious Landscapes: 	Province, Poverty, and the Poetics of Dispossession in Some Contemporary Latin American Works
Putrid, Precarious Landscapes: Province, Poverty, and the Poetics of Dispossession in Some Contemporary Latin American Works
(p. 199 – 222)

Álvaro Fernández Bravo

Putrid, Precarious Landscapes: Province, Poverty, and the Poetics of Dispossession in Some Contemporary Latin American Works

PDF, 24 pages

  • ecology
  • architecture
  • art theory
  • cultural critic
  • aesthetics

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Álvaro Fernández Bravo

is an independent scholar at CONICET, Argentina. After studying literature at the Universidad de Buenos Aires, he obtained his master’s and doctoral degrees at Princeton University, and carried out postdoctoral research at the Universidade Federal de Minas Gerais, Brazil. He has been a professor at Temple University, USA, numerous universities in Argentina, and the Pontifícia Universidade Católica do Rio de Janeiro. From 2008 until 2013 he was director of New York University Buenos Aires. He has published widely on film, literature and the culture industry. His most recent book is El museo vacío: acumulación primitiva, patrimonio cultural e identidades colectivas, Argentina y Brasil, 1880–1945 (2016).
Jens Andermann (ed.), Lisa Blackmore (ed.), ...: Natura: Environmental Aesthetics After Landscape

Entangled with the interconnected logics of coloniality and modernity, the landscape idea has long been a vehicle for ordering human-nature relations. Yet at the same time, it has also constituted a utopian surface onto which to project a space-time ‘beyond’ modernity and capitalism. Amid the advancing techno-capitalization of the living and its spatial supports in transgenic seed monopolies, fracking and deep sea drilling, biopiracy, geo-engineering, aesthetic-activist practices have offered particular kinds of insight into the epistemological, representational, and juridical framings of the natural environment. This book asks in what ways have recent bio and eco-artistic turns moved on from the subject/object ontologies of the landscape-form? Moving from botanical explorations of early modernity, through the legacies of mid-twentieth century landscape design, up to artistic experimental recodings of New World nature in the 1960s and 1970s and to present struggles for environmental rights and against the precarization of the living, the critical essays and visual contributions included in Natura attempt to push thinking past fixed landscape forms through interdisciplinary encounters that encompass analyses of architectural sites and artworks; ecocritical perspectives on literary texts; experimental place-making practices; and the creation of material and visual ecologies that recognise the agency of non-human worlds.