The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Hide
In this interview Daniel Más asks the artist Carlos Vergara about the works he showed at the Petite Galerie in 1969. He discusses the significance of certain materials in his work; cardboard, for example, which he describes as a poor material that, in his opinion, closely connotes Brazilian reality. Vergara mentions the works’ ability to interact with viewers, and goes on to talk about the general public’s access to art, describing his major works and first happenings. During the interview he comments on the reception the avant-garde enjoyed in the 1960s and, above all, the 1967 exhibition Nova Objetividade Brasileira, which prompts him to compare Brazilian art to international art.
Entrevista concedida por Carlos Vergara a Daniel Más sobre as suas obras apresentadas na Petit Galerie em 1969. O artista fala do significado de certos materiais usados em seus trabalhos, a exemplo do papelão, material pobre que, segundo ele, se relaciona com a realidade brasileira. Vergara faz referência ao contato direto do publico com estas propostas e se manifesta sobre o acesso à arte no Brasil, sobre o seu universo de trabalho, sobre os seus primeiros happenings, sobre a recepção da vanguarda dos anos 60 e a Nova Objetividade Brasileira, comparando a arte feita no país e ao cenário internacional.
Carlos Vergara (b. 1941) was one of the artists whose work was shown at Nova Objetividade Brasileira, the 1967 exhibition. In the 1970s he organized Exposição, a group event that featured some of the artists from that earlier period. In the mid-1970s he helped to launch Malasartes magazine, and arranged for several activities based on the incessant discussion about the Brazilian art circuit.
[As complementary reading, see the essay in the ICAA digital archive by Mário Barata “Vanguarda no museu modern” (doc. no. 1110489)].
Carlos Vergara surge como um dos protagonistas da Nova Objetividade Brasileira, em 67. Nos anos 70 organiza a "Exposição", mostra colaborativa com vários artistas do período, e participa da criação da revista "Malasartes", além de outras atividades voltadas para a discussão sobre o circuito artístico no Brasil.
Ver também: Nova Objetividade Brasileira
c- Particularidades da vanguarda no Brasil nos anos 60: abordagens do realismo e consciência da realidade brasileira