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RACAR : Revue d'art canadienne
The Salão da Bússola (1969) and Do Corpo à Terra (1970): Parallel Developments in Brazilian and International Art2013 •
IX JORNADAS DE HISTORIA Y CULTURA DE AMERICA, Universidad de Montevideo (UM), MONTEVIDEO, 26-30 JULY
Culture War in Brazil with the Opening of the Museum of Modern Art of São Paulo (MAM-SP) and the Official Arrival of Abstraction.2019 •
This paper explores how, on the one hand, the MoMA’s agenda on US cultural imperialism in Brazil triggered a war between aesthetic traditionalists and reformers on the occasions of ‘From Figurativism to Abstractionism’, the MAM-SP opening exhibition (1949), and of the first and the second São Paulo Biennials (1951 and 1953). These exhibitions promoted abstractionism as a prestigious banner of modernisation in Brazil fostered by Nelson Rockefeller, a symbol of US capitalism and the head of the American museum. Starting from this premise, the paper shows that the Brazilian Modernista establishment working with figurativism reacted to the arrival of abstractionism in Brazil by labelling it a type of degenerate art with no social engagement, anti-Brazilian, and compliant with US imperialism. The paper will therefore highlight how the MAM-SP pro-abstractionist campaign for aesthetic innovation, developed with the support of the MoMA and of Rockefeller, was rejected by the Brazilian cultural establishment engaging with the struggle of the masses against the national elite for being a clear evidence of foreign hegemony and capitalist interest. On the other hand, this paper will show how Concretismo, the abstract movement that emerged in Brazil around the MAM-SP above-mentioned exhibitions, was conceptually based on Gramscian Marxism, and, as opposed to the caustic opinion of the Modernista establishment, bore educative responsibilities with the masses. In fact, Waldemar Cordeiro, the leader of the Ruptura group that represented Concretismo in São Paulo, cited Gramsci and Marx as theoretical sources (merged with Fiedler’s theory of ‘Pure Visuality’ and the ‘Gestalt’) to respond to the local socio-political reality and to the dispute that was dividing the Brazilian artistic milieu. The paper will reveal that Cordeiro’s programme - even if he clearly sympathised with the forces of progress and modernisation that were recurrently associated with the Brazilian capitalist elite - aimed at serving the masses by means of manipulating the bourgeois order of distribution of culture, and by exploiting the exhibition opportunities that the Brazilian modern art museums owned by national figures compliant with the US geopolitical ambitions were offering to Ruptura.
2015 •
This article discusses the changes that took place in the art scene in Brazil during the 1960s and 1970s, changes that were related to the political and economic situation the country was experiencing. The general belief in the modern destiny of the nation of the post-war period was then replaced by a political crisis and economic instability and artists and intellectuals saw themselves breaking away from the autonomy of their field to take sides in relation to the situation in the country. I will therefore discuss how the dream of a collective project for a nation, of an integrated avant-garde, was built and dissolved, in the midst of political turmoil, and how this influenced artists and critics of the time.
PORTO ARTE: Revista de Artes Visuais
Thoughts upon Brazilian art in the years 1960 and 19702013 •
This article is a reflection upon art in Brazil during the years 1960 and 1970, from avant-garde and neo-avant-garde concepts in the art of the 20th century, with comments on the situation of Brazilian neo-avant-garde movements, especially the actions of militant critics and artists in the cities of São Paulo, Rio de Janeiro and Belo Horizonte.
Exhibit review of Jose Bernnô's show at Vilma Eid's Galeria Estaçao, a venue dedicated to Brazilian outsider artists and visited by the Modernisms: Concepts, Contexts, and Circulations Transregional Academy in São Paulo in July 2016. The article examines the works of Bernnô in dialogue with those from beyond urban centers within the gallery, such as Véio and Izabel Mendes da Cunha, noting Eid's trailblazing role in her transregional embrace of outsider artists. Available on the Modernism blog, at http://academies.hypotheses.org/1878
The Conversation
La guerra civil española (1936- 1952): una reinterpretación2019 •
International Journal for the Advancement of Counselling
How Counsellors Cope with Traumatized Clients: Personal, Professional and Organizational Strategies2006 •
The Spine Journal
Wednesday, September 26, 2018 9:00 AM – 10:00 AM Best Papers2018 •
2007 •
Annales Universitatis Mariae Curie-Skłodowska, sectio H – Oeconomia
FinTechs Contribution to Sustainable Development2023 •
UMYU Scientifica Journal
Analytical Investigation of Arrhenius Kinetics with Heat Source/Sink Impacts along a Heated Superhydrophobic Microchannel2024 •
2023 •
Dental Science Updates /Dental Science Updates
Effect of Upper first premolars extraction During Orthodontic Treatment on Distribution of Bite Force2024 •
Proceedings of the 23rd SIGSPATIAL International Conference on Advances in Geographic Information Systems
MigrO2015 •