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  • ICAA Record ID
    1110839
    TITLE
    Realismo : "musa da vingança e da tristeza" / Waldemar Cordeiro
    IN
    Habitat (São Paulo, Brasil). --- No. 83 (mai./jun. 1965)
    DESCRIPTION
    p. 45- 48
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Cordeiro, Waldemar. "Realismo: "musa da vingança e da tristeza". Habitat (São Paulo, Brasil), no. 83 (May/June1965): 45- 48.
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

Concrete artist and art theorist Waldemar Cordeiro comments on the emergence of new forms of realism in modern art, specifically in Pop art and New Realism, and a more personal strain of art called “popcreta.” Cordeiro considers the gains of nonfigurative art to be irreversible. He claims that there is no way that the new tendencies (which he calls “nts”) could be mistaken for figuration since they constitute a wholly new language that forms part of a new humanism. Despite the contradiction, Concrete art, which reflects on the means of production, makes use of craft techniques. Though Cordeiro advocates visual communication and serialization due to its universal scope, he objects to its physiological bent, which he deems naturalistic. Cordeiro asserts that technological progress has not benefitted everyone and that there is an urgent need for a spiritual nexus capable of bringing man together. Insofar as New Realism presents things directly, turning them into expressive signs, Cordeiro deems it a new language. The ability of those that make use of the work to apprehend it is a function of real, as opposed to ideal, social contexts. In other words, New Realism (Nouveau Réalisme) is research resulting from a back and forth dialectic between similar situations.

Leia esta sinopse em português
Synopsis

Waldemar Cordeiro comenta o aparecimento de novas formas de realismo na arte moderna, encontradas na pop-art, no novo realismo e na arte popcreta. Para o autor, as conquistas da arte não-figurativa são irreversíveis, e as novas tendências não podem ser confundidas com o figurativismo, constituem nova linguagem dentro de um novo humanismo. Considera contradições da arte concreta, que reflete sobre os meios de produção, mas utiliza ainda técnicas artesanais. Defende a aproximação à comunicação visual e à seriação, por seu alcance universal, mas discorda de seu caráter fisiológico que considera naturalista. Cordeiro percebe que o progresso tecnológico não beneficiou a todos igualmente, havendo assim, a necessidade de uma aproximação espiritual que una os homens. Para ele, o novo realismo cria nova linguagem com a apresentação direta das coisas, transformando-as em signos expressivos. A apreensão do fruidor depende dos contextos sociais reais, e não ideais. O novo realismo seria, portanto, uma pesquisa de significação gerada pela dialética de similitudes de situações.

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Annotations

Contrarian painter, designer, landscape artist, art critic, and theorist Waldemar Cordeiro (1925-73) was an advocate of a brand of computer-aided creation he called “arteônica.” Cordeiro formulates a paradigm of theory and of participation at the core of art and technological advances. After having participated in the Concrete art group Ruptura (founded in 1952) in the fifties, and formulating semantic objects or “Popcretos” in the sixties, he engaged in research and in artistic experimentation linked to the computer and the plotter, becoming a pioneer in those fields in Brazil and elsewhere.

 

At this point in his career, Cordeiro was immersed in the concept of a realism informed by his background in Concrete art. As a result, he veered away from abstract or nonfigurative art and from figurativism. That is, he eschewed the term “nova figuração” that he had once defended, instead embracing the term “nouveau réalisme,” formulated by French critic Pierre Restany.

 

The text “Realismo: musa da vingança e da tristeza” was initially published in the May–June 1965 issue of HABITAT, a magazine based in São Paulo directed by Lina Bo Bardi. It is steeped in a certain fatalism born of an awareness of the failure of “utopias grounded in technology” and of “the irrationalism of abstract rationalism.” This is why Cordeiro tends toward the new humanism crucial to contemporary movements like the Argentinean Nueva Figuración (1961-63) and the French “nouveaux realistes” group, founded in 1960 under the theoretical guidance of Restany. 

 

For a related text, see Waldemar Cordeiro’s “Novas tendências e nova figuração” [doc. no. 1110840].

Leia este comentário crítico em português
Annotations

O artista Waldemar Cordeiro, após ter participado ativamente do movimento de arte concreta durante a década de 1950, afirma o interesse pelas novas propostas figurativas, sob o ponto de vista de uma arte concreta semântica. Desenvolve então os "popcretos", no qual usa objetos apropriados. Esse ensaio desenvolve as idéias do artista que encontra no novo realismo a possibilidade de um novo humanismo. Afasta-se da arte abstrata, ou não-figurativa, mas também do figurativismo. Abandona o termo "nova figuração", que anteriormente defendera, adotando o termo "novo realismo", proposto por Pierre Restany.

 

c- Particularidades da vanguarda no Brasil nos anos 60: abordagens do realismo e consciência da realidade brasileira

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Researcher
Marco Andrade
Team
FAPESP, Sao Paulo, Brazil
Credit
Courtesy of the Estate of Waldemar Cordeiro, São Paulo, BR
Location
Biblioteca da Faculdade de Arquitetura e Urbanismo - FAU/USP