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Synopsis

In 1977, the critic Francisco Bittencourt introduced the work of Ângelo de Aquino in an exhibition, Identidade do artista, the title of which addressed the identity of the contemporary artist vis-à-vis his public status in the world. The discussion of the subject of identity is relevant because of the old cliché-ridden definition of an artist. Bittencourt considered the change of status and perspective to be of an ethical nature. He goes on to express those changes in a context that allows them to be used as the basis for a more thoughtful reading of Ângelo de Aquino’s work.

Leia esta sinopse em português
Synopsis

Francisco Bittencourt apresenta a mostra de Ângelo de Aquino de 1977, intitulada "Identidade do artista", que evidencia a identidade do artista contemporâneo como centro de sua condição no mundo. A discussão da identidade é reação à permanência do antigo estatuto do artista, envolto em clichês. Bittencourt considera a mudança de posição uma postura ética. Adiante, ele contextualiza este projeto no conjunto da obra do artista Ângelo de Aquino.

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Annotations

This is the introductory essay to Identidade do artista, an exhibition devoted to the work of Ângelo de Aquino. It was circulated as a collection of sheets of paper stapled together, including reproductions of two copies of the artist’s identification forms. The first was produced by Ângelo de Aquino (b. 1945); the Bulgarian-North American artist Christo (b. 1935) produced the second.

 

Ângelo de Aquino emerged in Brazilian art circles at the time of the exhibitions Opinião 65, Opinião 66, and Nova Objetividade Brasileira (1967). The Aquino exhibition, presented from June 27 to July 10, 1977, at the Escola de Artes Visuais del Parque Lage, in Rio de Janeiro, consisted of the presentation of the forms that he had created and sent to artists in various parts of the world, some of which were correctly answered and sent back by return mail. It was an important example of Mail Art in Brazil that addressed subjects such as the artist’s status and the creative idea. The project envisioned a book of the same title. The project enjoyed the support of artists in various parts of the planet, including Christo, Luis Alphonsus, Miguel Rio Branco, Julio Plaza, Artur Barrio, Milton Machado, Guilherme Vaz, Ilya Kabakov, Dick Higgins, Waltércio Caldas, Roberto Magalhães, Jorge Glusberg, Rubens Gerchman, Adriano de Aquino, and Cildo Meireles. At that time, Aquino’s work explored conceptual parameters, as was amply demonstrated by his exhibition at the MAC-USP (Museu de Arte Contemporânea da Universidade de São Paulo) during the same year in which he had a solo painting exhibition at the Museu de Arte da Bahia.

 

Francisco Bittencourt was a particularly thoughtful and active critic in the Rio de Janeiro art scene in the late 1960s and early 1970s. This article can be viewed as a secondary source; it is of interest because it reactivated the critical debate that raged during that decisive time about the relationship between art and technology, a subject that is now of fundamental importance for those who seek a broader understanding of the recent history of Brazilian art. 

Leia este comentário crítico em português
Annotations

Texto de apresentação da mostra de Ângelo de Aquino "Identidade do artista", veiculado como impresso em um conjunto de folhas grampeadas, com a reprodução de dois exemplares dos formulários de identificação do artista: o primeiro do próprio Ângelo e o outro, ao final do material, do artista búlgaro-americano Christo. Ângelo de Aquino surge no ambiente artístico brasileiro na época das mostras "Opinião 65", "Opinião 66" e "Nova Objetividade Brasileira" (1967). "Identidade do Artista", realizada entre 27 de junho e 10 de julho de 1977, na Escola de Artes Visuais do Parque Lage, no Rio de Janeiro, consistia na apresentação de formulários que ele criara, enviara para artistas de diversas partes do mundo e recebera de volta, preenchidos. Representa um importante exemplo da "mail art" no Brasil, além de levantar temas como a condição do artista e a idéia de autoria. O projeto previa a realização de um livro. O trabalho contou com a colaboração, dentre outros, de Christo, Luis Alphonsus, Miguel Rio Branco, Julio Plaza, Artur Barrio, Milton Machado, Guilherme Vaz, Ilya Kabakov, Dick Higgins, Waltercio Caldas, Roberto Magalhães, Jorge Glusberg, Rubens Gerchman, Adriano de Aquino e Cildo Meireles.

k- Entre o território da arte e o mundo real

l- Formação de nova rede institucional e suas estratégias

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Researcher
Equipe Brasil: Guilherme Bueno
Team
FAPESP, Sao Paulo, Brazil
Credit
Reproduzido com o consetimento de Aristóteles Angheben Predebon, São Paulo
Location
Centro de Memória do Museu de Arte Moderna do Rio de Janeiro