Jerónimo Duarte-Riascos is an assistant professor of Latin American and Iberian cultures. His research, teaching, and curatorial projects concentrate on modern and contemporary artistic practices, with special attention to their literary and visual manifestations in Latin America. He completed his PhD in Spanish and Latin American Literatures with a secondary field in Visual and Environmental Studies at Harvard University.
His current book project, tentatively titled Almost the Same But Not Quite–The Prosthetic Condition in Latin American Artistic Practices, studies works of art that simultaneously feature literary and visual components, and that were produced in the region after 1980. To approach them, he proposes the notion of the prosthetic condition: a way of being in contemporaneity that is opposed to traditional ontology—a manner of existence proper to entities that are produced artificially and that generate effects beyond the boundaries of the art world. He develops the notion of the prosthetic in conversation with a number of critical and theoretical debates, both in the humanities and beyond: the visual turn in literary studies, the performativity of language, the expansion of artistic fields and media, the dematerialization of artistic practices, the conceptualization of the human and the post-human in contemporaneity, the role of spectatorship as a creative activity, and the role of artistic practices in building communities that account for the different ways in which proximity is experienced today.
Prior to joining Columbia’s Department of Latin American and Iberian Cultures, Jerónimo was a Visiting Assistant Professor of Spanish and Portuguese at Northwestern University and lectured at The University of Chicago and Harvard University. He has worked at several museums, including The Museum of Modern Art, NYC, where he served as the C-MAP (Contemporary and Modern Art Perspectives) Fellow for Latin America; and the Harvard Art Museums where he developed academic programming for their Division of Modern and Contemporary Art. In 2014, he co-founded the curatorial collective deCabeza curaduría, under which he has organized several exhibitions and publications in the United States and in Latin America. He holds a B.A. in Literature and Law, and a M.A. in Literature from Universidad de los Andes in Bogotá, Colombia, where he also completed graduate studies in Modern and Contemporary Art History and Theory.
“La estrategia del pájaro carpintero: consideraciones sobre la vigencia y singularidad de las Yeguas del Apocalipsis” Conceptual Stumblings: Experimentalisms in Chilean Art and Literature Since the 1950s, edited by Sergio Delgado and José Falconi (forthcoming).
“La Violeta: Making the Transparent Opaque in Violeta Parra’s Work,” Mapping Violeta Parra’s Cultural Landscapes, edited by Patricia Vilches (Palgrave MacMillan, December 2017).
“Is this for Real? Cases of Colombian Art that Refuse to Give an Answer,” co-authored with Catalina Acosta-Carrizosa, Prosthetic Realities: Fake Truths and True Lies in Colombian Contemporary Art—A Catalogue (David Rockefeller Center for Latin American Studies, Harvard University and De cabeza curaduría. February, 2016).
“Aureliano Babilonia es un abaporu. Iteración y lenguaje en la construcción de identidades,” Revista de Estudios de Literatura Colombiana, 36 (Universidad de Antioquia, Julio de 2015).
“Reading through art for the worlds to come. A pedagogical take on the ever-present (and ever-pressing) question what can art do?” Revista Letral. 10 (June 2013).
“También la interpretación es un collage: conjeturas en torno a Pedro Manrique Figueroa” Revista Perífrasis, 1 (Universidad de los Andes, 2010).