De la Sota’s subjects are personal
reflections of his surroundings in which there is a
united thread that deals with the past, his conceptual
notions of collective lost and journalist qualities
of recording what is happening all of which reflects
a present state of chaos and disintegration. De la
Sota exemplifies the cosmopolitan character that has
characterized the Argentinean artistic mentality where
the production of work is a process of self examination
in a climate of equilibrium between the “national”,
reflected on De la Sota’s engagée motivations
of his artwork, and the international notions attached
to the Internet and the avant-garde implication of
digital arts. Argentina and Brazil are without a doubt
the most important countries in Latin America in terms
of vanguardismo, creativity and international projection.
How open or closed a society is to outside influence
has profound cultural and social effects. Aside from
the negative economic condition for the production
of art, both countries have a history of a successful
balance between the influences from abroad, dissemination
and discussion of the arts (in the case of Argentina
enhanced by the high level of literacy), and the vitality
of the native artistic developments. The work of De
la Sota is significant because it is sensitive to the
artistic and societal conditions of change.
References:
Herbert W. Franke comments in his article entitle,
the New Visual Language: The Influence of Computer
Graphics on Art and Society (Digital
Arts Museum).
Sullivan, Edward J. Latin American
Art in the Twentieth Century. Phaidon Press, 1996.
Written by: Oliver
Delgado |