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.
In this text, Sheila Leirner analyzes the artwork produced in Brazil, starting with her assessment of pluralism in international art. She arrives at the hypothesis that artwork in Brazil is not content to reproduce foreign models. One advantage of this perspective is that it serves as a strategy to offset the general Brazilian unpreparedness to contemplate “new art.” It also allows the writer to examine how Brazilian artists are being absorbed into the international art world as well as to set up certain analytical categories in which to discuss art that is no longer formalistic. The art critic goes on to state her intent to classify Brazilian artists in these same categories, often making comparisons between artwork created in Brazil and that produced in the United States.
Começando por um exame do pluralismo no sistema de arte mundial, Sheila Leirner examina a situação da produção artística brasileira, afirmando que esta não se compraz em reproduzir fontes estrangeiras. Tal percepção, além de ser uma estratégia para superar o despreparo com que se lia aquela "nova arte", permitiria à autora não apenas examinar o processo de absorção dos artistas brasileiros no circuito internacional, mas também elaborar categorias de análise pelas quais seria possível discutir uma arte não mais formalista. Em seguida, a crítica de arte tenta classificar os artistas brasileiros dentro destas mesmas categorias, freqüentemente comparando os meios de arte brasileiro e norte-americano.
As a journalist and art critic, the French Brazilian Sheila Leirner (b. 1948) was a member of the Conselho de Arte e Cultura da Bienal in 1982-83. During that decade, she was also appointed chief curator of two biennials: the 18th (1985) and the 19th (1987). After studying the sociology of art in France, Leirner became an art critic for the daily newspaper O Estado de S. Paulo in 1975. She published a selection of her essays under the title Arte e seu tempo (São Paulo: Editôra Perspectiva, 1991), in which she focused on what she called “new art.” That was the year she moved to Paris, where she worked and specialized as an arts administrator. She represented the Galeire nationale du Jeu de Paume in Latin America (1993-99) and became a member of the International Association of Art Critics (AICA) (French division). Leirner has contributed to countless journals and supplements in both countries, including Beaux-Arts Magazine, Europe Magazine Littéraire, Revista da USP, and Cadernos de Literatura Brasileira. She is also on the scholarship committee for UNESCO-Aschberg.
Leirner had the opportunity to participate in a radical change in the organization and framework of the São Paulo Biennial, launched by Professor Walter Zanini in the early 1950s. The 18th Biennial (1985) and the 19th Biennial (1987) offered the chance to coordinate universal themes with local themes. In addition, Leirner was able to address her main interest: giving a more prominent role to the curator [see doc. no. 1111107 and doc. no. 1110910].
A crítica de arte e curadora Sheila Leirner foi curadora da Bienal de São Paulo de 1985, edição do evento marcada pela polêmica da "Grande Tela", decorrente do projeto curatorial de montagem da exposição em que as pinturas em grande formato eram apresentadas enfileiradas.
c- Geração 80. Mostras. Artistas. Novo universo de valor: volta a pintura, uso da imagem (banal, precário, remanescente); lúdico, citação e paródia
m- Internacionalidade da arte brasileira