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  • ICAA Record ID
    1110328
    TITLE
    Manifesto Neoconcreto
    IN
    Jornal do Brasil (Rio de Janeiro, Brasil). -- Mar. 21, 1959
    DESCRIPTION
    ill.
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Newspaper article – Manifestoes
    BIBLIOGRAPHIC CITATION
    Gullar, Ferreira. "Manifesto Neoconcreto." Jornal do Brasil: Suplemento Dominical (Rio de Janeiro, Brazil), March 21-22, 1959.
Editorial Categories [?]
Synopsis

This manifesto was published on the occasion of the I Exposição Neoconcreta held in Rio de Janeiro (1959). The document, which is signed by the artists who participated in the exhibition, describes the “Neo-concrete” movement as a radical approach that, in stark critical contrast to contemporary theoretical ideas (circulating at that time in Brazil), combined both rational and scientific elements in the works of the geometric-constructive avant-garde and, in particular, in what was referred to as Concrete Art. The manifesto advocates a reinterpretation of geometric (non-figurative) art and highlights the importance of artists such as Piet Mondrian and Kazimir Malevich as essential references of the movement that rebelled specifically against the ideas being proposed in São Paulo. The document also insists on the concept of artistic independence in terms of objective and practical knowledge, and compares art to living organisms, suggesting that this perspective can only be gained by phenomenological means. Referring to themes from “Neo-concrete” literature, the manifesto states that the signatories are free of any dogmatic principles, though it nonetheless describes certain affinities in their work.  

Leia esta sinopse em português
Synopsis

Manifesto publicado na ocasião da I Exposição Neoconcreta, em 1959, no Rio de Janeiro. O documento assinado pelos integrantes da mostra apresenta o neoconcretismo como uma postura crítica em relação aos pressupostos teóricos de viés racionalista e cientificista, que balizaram as vanguardas geométrico-construtivas, especialmente a arte concreta no Brasil. Propõe uma reinterpretação da arte não figurativa geométrica e aponta as obras de Piet Mondrian e Kasimir Malevitch como referências fundamentais do neoconcretismo. Afirma a independência da criação artística perante o conhecimento objetivo e prático. Compara a arte com um organismo vivo e considera que ela só pode ser apreendida por meio de uma abordagem fenomenológica. Tece observações sobre a literatura neoconcreta. Declara que os artistas neoconcretos não estão reunidos em torno de princípios dogmáticos, e sim pelas afinidades entre suas produções.

Revert to English synopsis
Annotations

This document heralds the break between concretism (São Paulo) and Neo-concretism (Rio de Janeiro). Attention should be drawn to the infelicitous nature of the prefix (Neo) with which this movement was saddled, and which was intended to eliminate the conflict rather than rekindle it. A far better choice would have been something along the lines of “non,” “un,” “anti,” or “counter” (concretism). Despite all that, this is an essential text for understanding a movement that, as it happens, enjoyed its heyday during the time of Brazil’s “Geração ‘80”. The document was written by the poet and critic [José Ribamar] Ferreira Gullar (1930–2016), the movement’s main theoretician, and was signed by the artists Franz Weissmann, Amílcar de Castro, Lygia Clark, Lygia Pape, Reynaldo Jardim, and Theon Spanudis, all of whom participated in the I Exposição Neoconcreta with paintings, sculptures, prints, poems, and prose pieces. The manifesto roundly condemns the rationalist theories of geometric abstraction non-figuration, and calls for a return to a “sensory dimension” in works of art, but does so in contradictory terms by appealing (about six times) to the least pleasant term available: “transcendence.” The manifesto also fails to deny the constructive affiliation of the so-called “Neo-concrete” movement, though it leaves its philosophical underpinnings in no doubt by identifying Gestalt (the psychology of form) as the causal theory and, on the other hand, embracing the objectives of phenomenology at the heart of the movement’s aspirations.    

 

[As complementary reading on the subject of the exhibition, see the following articles in the ICAA digital archive: by Ferreira Gullar “I — O Grupo de São Paulo: I Exposição Nacional de Arte Concreta” (doc. no. 1087166), and “I Exposição Nacional de Arte Concreta: 2 — O grupo do Rio” (doc. no. 1090217); by Waldemar Cordeiro “Teoria e prática do concretismo carioca” (doc. no. 1087287); and by Mário Pedrosa “Paulistas e cariocas” (doc. no. 1085056)].

Leia este comentário crítico em português
Annotations

Este documento marca a cisão entre concretismo e neoconcretismo no Brasil. Trata-se de um texto fundamental para a compreensão da proposta neoconcreta que surge no país. O manifesto foi redigido pelo poeta Ferreira Gullar, o principal teórico do movimento, e assinado em conjunto com Franz Weissmann, Amílcar de Castro, Lygia Clark, Lygia Pape, Reynaldo Jardim e Theon Spanudis, artistas que integraram a I Exposição Neoconcreta apresentando pinturas, esculturas, gravuras, poemas e textos em prosa. O manifesto critica as teorias racionalistas do não figurativismo geométrico e propõe o resgate da dimensão sensorial da obra, sem, no entanto, negar a filiação construtiva do neoconcretismo. Além disso, deixa clara a mudança de paradigma filosófico: aponta a Gestalt como sendo uma teoria causalista e afirma a fenomenologia como referência teórica da proposta neoconcreta.

 

g- Arte neoconcreta

g- Grupos e manifestos

Revert to English annotations
Researcher
Heloisa Espada
Team
FAPESP, Sao Paulo, Brazil
Credit
Jornal do Brasil, March 21, 1959, pp. 47-48/ CPDoc JB
Location
Centro de Pesquisa e Documentação do Jornal do Brasil