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Carlos Zílio wrote this essay for Atensão, the exhibition of his own works at the Sala Experimental do Museu de Arte Moderna in Rio de Janeiro in 1976. Zílio discusses specific features of his work, from his conception of the exhibition as a whole (the installation of which represents more than the sum of its parts) to the point where his works are open to a variety of conceptual interpretations that go beyond the boundaries of art and its critical relationship to the system.
Texto redigido pelo próprio artista para a sua exposição na Sala Experimental do Museu de Arte Moderna do Rio de Janeiro, em 1976. Carlos Zilio trata de questões inerentes ao trabalho, desde a concepção da mostra como um todo, e cuja montagem ultrapassa a somatória de objetos, até a abertura dos trabalhos para diversas articulações conceituais que extrapolam o limite da arte e a relação crítica com o sistema.
The neologism “Atensão” is a hybrid term that combines the word attention with the political tension generated by the Brazilian military dictatorship’s seemingly endless grip on power (1964–85). The term Atensão was used as the title for the exhibition that opened at the Sala Experimental do Museu de Arte Moderna in Rio de Janeiro in 1976. This exhibition paved the way for Carlos Zílio (b. 1944) to re-engage with his art career after many years of political activism for which he was imprisoned and then exiled. The works exhibited at Atensão however, were very different from the visual art he produced in the 1960s.
Zílio re-launched his painting career in Brazil with the exhibition Atensão after being involved for many years with MR-8, the urban guerilla group inspired by the teachings of Che Guevara. Zílio lived in exile in France in the early 1970s. The works he presented at the exhibition were a far cry from the optimistic worldview of the Nova Objetividade Brasileira in 1967, and from Pop Art, which had influenced his work in the 1960s. On his return to Brazil he started painting and teaching again, and published Gávea magazine.
An interview with Fernando Cocchiarale [see doc. no. 1110517] refers to Zílio’s re-engagement with art following his exile after being in prison (1970–72) during the period of political repression under the military dictatorship. During his exile in Paris he set about writing the book: A querela do Brasil: a questa~o da identidade da arte brasileira: a obra de Tarsila, Di Cavalcanti e Portinari, 1922-1945 (Rio de Janeiro: Edição Funarte, 1982).
"Atensão" foi realizada na Sala Experimental do Museu de Arte Moderna do Rio de Janeiro, em 1975. A exposição significou, para Carlos Zilio, a retomada de sua carreira profissional após anos de militância política. Além disso, a produção que o artista apresenta na mostra se encontrava já distanciada do universo da Nova Objetividade e da Pop Art que marcara os seus trabalhos nos anos 60.
Ver também: Ronaldo Brito - Leitura crítica do realExposição Carlos Zílio - Galeria Luiz Buarque de Hollanda e Paulo Bittencourt
k- Crítica institucional e revisão do campo de atuação artística
k- Entre o território da arte e o mundo real
k- Nova função do museu como espaço experimental