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The writer and art critic Geraldo Ferraz discusses the boycott of the tenth Bienal de São Paulo (1969), noting that the artists’ refusal to participate in the international exhibition would cause irreparable damage to the event. He calls the protest “innocuous” because it will do nothing to revoke the veto applied to the collection of works that had been selected for the Biennale de Paris (1969). In his opinion, artists who want to exhibit at this kind of biennial should not use their work for political leverage simply because the exhibition happens to be an official event. He dismisses any talk of “free art” as “naive.”
O crítico Geraldo Ferraz analisa o boicote à X Bienal e afirma que a recusa de artistas a participar da mostra estaria causando danos irreparáveis à exposição. Julga o protesto inócuo, uma vez que não conseguiria reverter as restrições contra as obras selecionadas para a Bienal de Paris. Para o crítico, os artistas que pretendem expor em mostras como as Bienais do Brasil e da França não deveriam usar de suas obras como veículo de protesto político, devido ao fato de essas exposições serem eventos de caráter oficial, chamando de "ingênuo" o discurso sobre a "arte livre".
In 1969, the tenth Bienal de São Paulo was subjected to an international boycott. The protest movement, which coalesced around the critic Mário Pedrosa, arose after the military police entered the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) and closed down the exhibition that had been selected to represent Brazil at the sixth Biennale de Paris, after the works in question had been censored by the military regime (1964–85). In response to this high-handed censorship, Brazilian artists boycotted the tenth São Paulo biennial and—with the help of Brazilian artists who like Pedrosa were living in exile at the time—started an international campaign that was widely supported in France, the United States, Mexico, Holland, Sweden, and Argentina.
[As complementary reading on this subject, see the following documents in the ICAA digital archive: both the typewritten text (doc. no. 774569) and the graphic version (doc. no. 774628) that the artists distributed as part of their boycott of the exhibition, both bearing the same title (by various authors), “Non à la Biennale de São Paulo”; see also the newspaper article “Bienal” by Arnaldo Pedroso D’Horta (doc. no. 1111041)].
A X Bienal de São Paulo, de 1969, soferia com a organização de um boicote internacional à exposição. Liderado pelo crítico Mário Pedrosa, o boicote teve como estopim o episódio ocorrido no Museu de Arte Moderna do Rio de Janeiro (MAM-RJ) em que a polícia militar invadiu e fechou exposição dos artistas contemporâneos selecionados para representarem o Brasil na VI Bienal de Paris, devido à censura imposta pela Regime Militar às obras ali expostas. A resposta dos artistas brasileiros ao fechamento daquela exposição foi boicotar a décima exposição bienal, iniciando uma campanha internacional que conseguiria o apoio de artistas consagrados de diversos países, incluindo França, Estados Unidos, Méxido, Holanda, Suécia e Argentina.
m- Bienal de São Paulo