An interesting and new facet of Syncretism in art appears in the 90s in Colombia, Ecuador and Peru with the Latin American League of Artists. Through this organization, almost three hundred Latin American artists have worked together on the Thesis "Between Syncretism and Paramodernity" (Vallejo) in various fields of visual arts, mixed media, time-based arts, multimedia, theater, music, literature and architecture. The precursor of the movement, the Colombian anthropologist Alonso Jiménez") explains:

"Their arguments have been approached from the perspective of Latin American syncretism, as a phenomenon of cultural hybridization, hence the importance of this intellectual effort whose specific problems seem to take up some of the thinking of the Uruguayan Joaquín Torres García and the Cuban Juan Francisco Elso Padilla in terms of para modernity. However, their contributions are becoming concrete with the gradual approach to the vernacular language that walks between the bridge of the sacred and the cultural, structured in Patois and aesthetic subdialects.

Likewise, the Latin American League of Artists has stood out for being present in the field of Ex-Librism, on a par with groups from Mexico and Argentina, managing exhibitions and access to permanent collections of great value in the international context.

The Colombian philosopher Yuri Gómez comments on the same topic in his own terms:

"The syncretic praxis that is of interest to us, because we all enjoy it, is not the original and inextricable praxis that is found at the origin of knowledge, at the origin of language and at the origin of time. The strength of truly interesting syncretism is the influence that takes shape within today's knowledge and in its practice because it makes us universal since it consists of the involuntary human effort to bring together what is different in each act and make the result similar to what is not similar."

The following paragraph is the Summary of the article "Syncretism and contemporary Latin American art", written by Álvaro Villalobos-Herrera:.

"The mixture and co-participation of cultural forms that remain together and coexist generating a result is called syncretism, this abstract but real characteristic distinguishes the most representative works of contemporary Latin American art. Technology has limited the main relationships of syncretism, to the study of the behavior of communities, races and peoples around the survival of pagan rituals mixed with religious beliefs but not in relation to art, hence the importance of a study on the particular relationship of syncretism with the work of contemporary art. This work deals with the relationships of current artistic languages based on their poetic tendencies and the most significant elements derived from characters of innovation or obsolescence in relation to syncretism and the notions of identity and culture. It takes into account the symbolic content of contemporary art considering the conceptual, formal and technical elements, which consider the work of art as a sign or as a system of signs located in a specific social and cultural context, a system that carries informational values that exerts influences on the art. current society from a historical and geographical context that denotes cultural and identity characteristics in Latin American art. Syncretism exists for itself, is for itself and in itself is an individual action from within the bowels of mixtures and hybrids, part of the referential context of the artist and his world that obeys the internal and external ties of his cultural phenomena. Thus, the function of art is not one of results but of propositions that establish actions that entail artistic truth and intentional truth of realization, therefore. syncretic exists in its own being and make the condition of man historical, sacred or profane.

1. Latin American League of Artists, in one of its Ex-Libris publications dedicated to vernacular art, from the Latin American Ex-Libris series.

2. Alonso Jiménez, anthropologist and artist, founder and director of the Latin American League of Artists to which, among others, the Colombians Robin Cárdenas, poet, Futuro Moncada Forero, Yuri Gómez - philosopher, the Ecuadorians Michael Silvers, Danilo Vallejo, Martha Velastegui, Wilson Paccha Chamba, Miguel Ángel Achíg, Danilo Zamora, Ulises Unda and the poet Xavier Oquendo, belonged. Peruvians Miguel Lezcano, Miguel Cordero, Marcel Velaochaga, Anita Ponce among others, who tried for many years to hold joint exhibitions in which they proposed to work under the conceptual parameters of syncretism, as a common element of the patois, the creoles and aesthetic panlinguas, under a single concept of Latin American hybridizations. Formally, in some exhibitions they worked through a symbolic agreement of union between the countries of the southern cone, the red of blood and the black of mourning, thereby managing to bring together collective exhibitions of great repercussion. Among their most notable actions were Urban Dramas in psychiatric shelters in cities such as Bogotá and Quito, actions and plastic burnings in places with a hostile profile such as clubs, pornographic cinemas and brothels. A large group of artists who joined temporarily in Quito, Bogotá, Buenos Aires, Lima and Gothenburg Sweden, managed to unite ideas that today circulate in the form of ARTIST BOOKS, which are the stepping stone built by that group and that has managed to endure without any other parameter than that of free creation and not theologized by the aesthetics of the hypercenters.

3. Álvaro Villalobos-Herrera, Research Coordinator of the School of Arts of the Autonomous University of the State of Mexico.

• - Néstor García Canclini. 1989. Hybrid cultures, Strategies for entering and exiting the.

modernity. Mexico City Ed. Grijalbo.

• - M. Zavala. 1998. The precision of uncertainty, postmodernity, everyday life and.

writing. UAEM Publishing House, Toluca, Mexico.

• - Umberto Eco. 1979. Foucault's pendulum. Ed. Planeta, Barcelona.

• - Jesús Martín Barbero, 1987, From the media to mediations, Gustavo Gili, Mexico.

• - Danilo Vallejo. 1999. Between Syncretism and Paramodernity. Central University of Ecuador, Quito.

• - Alonso Jiménez, Syncretism, Vernacular Art, Buenos Aires-Argentina. Latin American Ex-Libris Series.

• - O Larga y Negra Partida, Bogotá, Colombia. Ex libriS series.

• - Indigenous Autonomous University of Mexico. 2006. Ra Ximhai. Magazine of Society, Culture and Sustainable Development.

May-August, year/Vol.2, Number 2. Mochicahui, El Fuerte, Sinaloa. pp. 393-417.

• - Syncretism and Art, Latin American League of Artists, Bogotá, Colombia.

• - Manuel Zapata Olivella and Alonso Jiménez, The strange mirror of loneliness, Bogotá, Colombia. Ex libris series.

• - Syncretic Documents, publications of playwriting, poetry and short stories, directed by Alonso Jiménez, three groups: Proyecto Teatro de Esquina Bogotá-Colombia, La piedra-Quito Ecuador, Confluencias Buenos Aires Argentina.

• - Ex libris notebook 2007, directed by Alonso Jiménez, artists from Colombia, Brazil and Argentina.

• - Without an imposed destination, Latin American League of Artists, poetry from Colombia, Mexico and Romania, directed by Alonso Jiménez.

• - Alonso Jiménez and Miguel Gutiérrez Peláez, Uninhabited Monster, Syncretic Documents, ed. Latin American League of Artists, Bogotá, Colombia, 2013.

• - VARIOUS POETS, Femina Poesi, Argentina, Mexico, Colombia and Ecuador, ed. Latin American League of Artists, Syncretic Documents, Bogotá, Colombia, 2013.

• - Gutiérrez R. Javier, ADENTROLACASAAFUERA, Dramaturgia, Ed. Latin American League of Artists, Syncretic Documents, Bogotá, Colombia, 2009.

• - VARIOUS POETS, Anthology, BLUE MANTICORE, ed. Latin American League of Artists, Bogotá. Colombia, 2008.

An interesting and new facet of Syncretism in art appears in the 90s in Colombia, Ecuador and Peru with the Latin American League of Artists. Through this organization, almost three hundred Latin American artists have worked together on the Thesis "Between Syncretism and Paramodernity" (Vallejo) in various fields of visual arts, mixed media, time-based arts, multimedia, theater, music, literature and architecture. The precursor of the movement, the Colombian anthropologist Alonso Jiménez") explains:

"Their arguments have been approached from the perspective of Latin American syncretism, as a phenomenon of cultural hybridization, hence the importance of this intellectual effort whose specific problems seem to take up some of the thinking of the Uruguayan Joaquín Torres García and the Cuban Juan Francisco Elso Padilla in terms of para modernity. However, their contributions are becoming concrete with the gradual approach to the vernacular language that walks between the bridge of the sacred and the cultural, structured in Patois and aesthetic subdialects.

Likewise, the Latin American League of Artists has stood out for being present in the field of Ex-Librism, on a par with groups from Mexico and Argentina, managing exhibitions and access to permanent collections of great value in the international context.

The Colombian philosopher Yuri Gómez comments on the same topic in his own terms:

"The syncretic praxis that is of interest to us, because we all enjoy it, is not the original and inextricable praxis that is found at the origin of knowledge, at the origin of language and at the origin of time. The strength of truly interesting syncretism is the influence that takes shape within today's knowledge and in its practice because it makes us universal since it consists of the involuntary human effort to bring together what is different in each act and make the result similar to what is not similar."

The following paragraph is the Summary of the article "Syncretism and contemporary Latin American art", written by Álvaro Villalobos-Herrera:.

"The mixture and co-participation of cultural forms that remain together and coexist generating a result is called syncretism, this abstract but real characteristic distinguishes the most representative works of contemporary Latin American art. Technology has limited the main relationships of syncretism, to the study of the behavior of communities, races and peoples around the survival of pagan rituals mixed with religious beliefs but not in relation to art, hence the importance of a study on the particular relationship of syncretism with the work of contemporary art. This work deals with the relationships of current artistic languages based on their poetic tendencies and the most significant elements derived from characters of innovation or obsolescence in relation to syncretism and the notions of identity and culture. It takes into account the symbolic content of contemporary art considering the conceptual, formal and technical elements, which consider the work of art as a sign or as a system of signs located in a specific social and cultural context, a system that carries informational values that exerts influences on the art. current society from a historical and geographical context that denotes cultural and identity characteristics in Latin American art. Syncretism exists for itself, is for itself and in itself is an individual action from within the bowels of mixtures and hybrids, part of the referential context of the artist and his world that obeys the internal and external ties of his cultural phenomena. Thus, the function of art is not one of results but of propositions that establish actions that entail artistic truth and intentional truth of realization, therefore. syncretic exists in its own being and make the condition of man historical, sacred or profane.

1. Latin American League of Artists, in one of its Ex-Libris publications dedicated to vernacular art, from the Latin American Ex-Libris series.

2. Alonso Jiménez, anthropologist and artist, founder and director of the Latin American League of Artists to which, among others, the Colombians Robin Cárdenas, poet, Futuro Moncada Forero, Yuri Gómez - philosopher, the Ecuadorians Michael Silvers, Danilo Vallejo, Martha Velastegui, Wilson Paccha Chamba, Miguel Ángel Achíg, Danilo Zamora, Ulises Unda and the poet Xavier Oquendo, belonged. Peruvians Miguel Lezcano, Miguel Cordero, Marcel Velaochaga, Anita Ponce among others, who tried for many years to hold joint exhibitions in which they proposed to work under the conceptual parameters of syncretism, as a common element of the patois, the creoles and aesthetic panlinguas, under a single concept of Latin American hybridizations. Formally, in some exhibitions they worked through a symbolic agreement of union between the countries of the southern cone, the red of blood and the black of mourning, thereby managing to bring together collective exhibitions of great repercussion. Among their most notable actions were Urban Dramas in psychiatric shelters in cities such as Bogotá and Quito, actions and plastic burnings in places with a hostile profile such as clubs, pornographic cinemas and brothels. A large group of artists who joined temporarily in Quito, Bogotá, Buenos Aires, Lima and Gothenburg Sweden, managed to unite ideas that today circulate in the form of ARTIST BOOKS, which are the stepping stone built by that group and that has managed to endure without any other parameter than that of free creation and not theologized by the aesthetics of the hypercenters.

3. Álvaro Villalobos-Herrera, Research Coordinator of the School of Arts of the Autonomous University of the State of Mexico.

• - Néstor García Canclini. 1989. Hybrid cultures, Strategies for entering and exiting the.

modernity. Mexico City Ed. Grijalbo.

• - M. Zavala. 1998. The precision of uncertainty, postmodernity, everyday life and.

writing. UAEM Publishing House, Toluca, Mexico.

• - Umberto Eco. 1979. Foucault's pendulum. Ed. Planeta, Barcelona.

• - Jesús Martín Barbero, 1987, From the media to mediations, Gustavo Gili, Mexico.

• - Danilo Vallejo. 1999. Between Syncretism and Paramodernity. Central University of Ecuador, Quito.

• - Alonso Jiménez, Syncretism, Vernacular Art, Buenos Aires-Argentina. Latin American Ex-Libris Series.

• - O Larga y Negra Partida, Bogotá, Colombia. Ex libriS series.

• - Indigenous Autonomous University of Mexico. 2006. Ra Ximhai. Magazine of Society, Culture and Sustainable Development.

May-August, year/Vol.2, Number 2. Mochicahui, El Fuerte, Sinaloa. pp. 393-417.

• - Syncretism and Art, Latin American League of Artists, Bogotá, Colombia.

• - Manuel Zapata Olivella and Alonso Jiménez, The strange mirror of loneliness, Bogotá, Colombia. Ex libris series.

• - Syncretic Documents, publications of playwriting, poetry and short stories, directed by Alonso Jiménez, three groups: Proyecto Teatro de Esquina Bogotá-Colombia, La piedra-Quito Ecuador, Confluencias Buenos Aires Argentina.

• - Ex libris notebook 2007, directed by Alonso Jiménez, artists from Colombia, Brazil and Argentina.

• - Without an imposed destination, Latin American League of Artists, poetry from Colombia, Mexico and Romania, directed by Alonso Jiménez.

• - Alonso Jiménez and Miguel Gutiérrez Peláez, Uninhabited Monster, Syncretic Documents, ed. Latin American League of Artists, Bogotá, Colombia, 2013.

• - VARIOUS POETS, Femina Poesi, Argentina, Mexico, Colombia and Ecuador, ed. Latin American League of Artists, Syncretic Documents, Bogotá, Colombia, 2013.

• - Gutiérrez R. Javier, ADENTROLACASAAFUERA, Dramaturgia, Ed. Latin American League of Artists, Syncretic Documents, Bogotá, Colombia, 2009.

• - VARIOUS POETS, Anthology, BLUE MANTICORE, ed. Latin American League of Artists, Bogotá. Colombia, 2008.