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  • ICAA Record ID
    1090623
    TITLE
    Todos atentos / Waldemar Cordeiro
    IMPRINT
    São Paulo, Brasil, [jan. 1966]
    DESCRIPTION
    ill.
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Newspaper article – notes
    BIBLIOGRAPHIC CITATION
    Cordeiro, Waldemar. "Todos atentos." Artes (São Paulo, Brazil), vol. 1, no. 1 (January 1966).
    NAME DESCRIPTORS
Editorial Categories [?]
Synopsis

Brazilian Concrete art theorist Waldemar Cordeiro discusses the exhibition Propostas 65, which was conceived and organized by artists. In Cordeiro’s view, what is called “proposal” art is radical insofar as it entails collective, rather than individual, expression. It follows in a specific context open to direct dialogue. In his text, Cordeiro places emphasis on the semantic value of this strain of art and how ideas are applied. In other words, he discusses how the medium transforms information whose origin lies in international art. Cordeiro identifies contemporary realism with criticism of the historical development of the culture of the image, including the evolution of the concept of “medium” and of the narrative in mass culture and design. For Cordeiro, this contemporary realism entails the “creation,” “codification,” and “reading” of a new visual reality, one wholly different from traditional artistic genres. He writes briefly about some of the artists in the show who exemplify this movement, mentioning specifically Abraham Palatnik, Ubirajara Ribeiro, Ruben Martins, Pedro Escostéguy, Antonio Manuf, Efizio Putzolu, Mona Gorovitz, Waldomiro de Deus, Ângelo D’Aquino, Samuel Szpigel, Maurício Nogueira Lima, Rubens Gerchman, architect Sérgio Ferro, set designer Flávio Império, Carlos Vergara, Miriam Chiaverini, and Nelson Leirner.

Leia esta sinopse em português
Synopsis

Waldemar Cordeiro comenta a exposição Propostas 65, idealizada e orientada por artistas. Para Cordeiro, a arte de proposta é arte social, manifestação coletiva e não individual. Existe em contexto específico, aberta ao diálogo direto. Ressalta os valores semânticos e o uso de idéias, ou seja, o meio transformando informações provindas das relações internacionais da arte. Distingue o atual realismo por uma ação critica em relação ao desenvolvimento histórico da cultura das imagens, incluindo a evolução de médium e os processos narrativos da cultura de massa e do design. Cordeiro o situa como criação, codificação e leitura de uma nova realidade visual diversa dos gêneros tradicionais da arte. Destaca, em pequenos textos, alguns artistas da mostra: Abraham Palatnik, Ubirajara Ribeiro, Ruben Martins, Pedro Escostéguy, Antonio Manuf, Efizio Putzolu, Mona Gorovitz, Waldomiro de Deus, Ângelo D´Aquino, Samuel Szpigel, Maurício Nogueira Lima, Rubens Gerchman, Sérgio Ferro, Flávio Império, Carlos Vergara, Miriam Chiaverini e Nelson Leirner.

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Annotations

The exhibition Propostas 65, which took place in December 1965 at the seat of the Fundação Armando Álvares Penteado (FAAP) in São Paulo, featured work by forty-nine artists. The show—along with what was called Opinião 65—was one of the first collective expressions of “new figuration” in Brazil. The event took place the year after a military coup that ushered in a twenty-one-year period of dictatorship, and as such, the idea of “the collective” that Cordeiro emphasizes here was not only opportune but also necessary. Important debates between artists and critics ensued during and after Propostas 65.

Contrarian painter, designer, landscape artist, art critic, and theorist Waldemar Cordeiro (1925-73) formulates a paradigm of theory and of participation at the core of art and technological advances. After having participated in the fifties in the Concrete art group Ruptura (founded in 1952) and creating semantic objects or “Popcretos” in the sixties, he engaged in research on artistic experimentation. Cordeiro looks to theorists like German thinker Max Bense as he grapples with a dialectic that vacillates between “things” and “realities” in relation to a conception of “pop.” He is convinced that contemporary art implies an objective language that presents things (or semantic units) wholly unrelated to representation. He calls this phenomenon “concrete semantic art.” This is one of the topics Cordeiro addresses in “Novas tendências e nova figuração” [see doc. no. 1110840], an essay published in the architecture magazine HABITAT.

The precedent for Cordeiro’s idea of “contemporary realism under the auspices of critical action” lies in earlier texts of his authorship, among them “Produto direto de uma atitude crítica” [doc. no. 1087239]. The text discussed here must also be understood in the context of the wider concept developed in “Realismo: ‘musa da vingança e da tristeza’” [doc. no. 1110839]. Ironically entitled “Todos atentos,” this text is a reflection on the irresolvable conundrum of art within a consumer society. Implicit to his argument is a criticism of the hegemonic “culture” of the mass media and the use (or manipulation) of those media by artists.

Leia este comentário crítico em português
Annotations

A exposição Propostas 65 reuniu 49 artistas e foi realizada em dezembro de 1965 na Fundação Armando Álvares Penteado. Constituiu uma das primeiras manifestações coletivas da nova figuração no Brasil, juntamente com a mostra Opinião 65, Simultaneamente à mostra Proposta 65, ocorreram importantes debates com artistas e críticos.
Waldemar Cordeiro foi anteriormente o principal articulador do movimento concreto em São Paulo, do qual participa como artista e teórico desde o grupo Ruptura e das mostras históricas de Arte Concreta. Sua produção se transforma no início da década de 1960, com a proposta dos Popcretos, obras que incluíam textos, imagens e objetos do cotidiano e colocavam ênfase no "objeto semântico".

 

c- Impasse da arte na sociedade de consumo: crítica à comunicação de massa. Manejo de meios de comunicação de massa pelos artistas

Revert to English annotations
Researcher
Marco Andrade
Team
FAPESP, Sao Paulo, Brazil
Credit
© Waldermar Cordeiro Estate Private Archive, 2013
Location
Projeto Arte no Brasil