Hybrid, mestizo, nostalgic or even melancholic, all these approaches question one and the same space: that of the “in-between-several.” Is the “in-between-several” an intermundane or permanent space? Can it be analyzed as a vibratory gap whose discourse differs from several worlds that dialogue or clash with one another? To analyze this “in-between” is to study at once the worlds of an image, a work, or even an act, as well as the discourse that emerges from them and the discourse that may arise from them. The “in-between” invites us to reflect on the becoming of this encounter as a perspective beyond the real, or even on what participates in it without truly being there.
The Americas, from north to south, from the nineteenth and twentieth centuries, are fully inscribed in this questioning, both through Afro-American plastic dynamics and through crossings with European, Asian and Arab arts. From the first Mexican haikus of the intellectual José Juan Tablada, through the magical realism of the Argentine Xul Solar, to the conceptual works of the Iranian-American sculptor Siah Armajani, the plastic and theoretical “in-between-several” stands as a key for reading the whole of American artistic creations in their immense diversity.
We therefore propose to open a debate on paradigmatic plastic creations of this “in-between-several”—in other words, works that materialize and/or theorize this intermediate space, whether material or immaterial.
