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Synopsis

In this interview with artist Antonio Manuel by critic Francisco Bittencourt, Manuel speaks of his early career, mentioning specifically the Salão da Bússola [Compass Salon]; the Corpobra [Body-Work] action in which he appeared naked at the Salão Nacional de Arte Moderna; the “Exposição de Antonio Manuel (de 0 a 24 horas nas bancas de jornais),” a project from the late sixties that combined a twenty-four hour newsstand and the “flanes” works in which the artist subversively intervened in use of  newspapers’ rubber stereotypes. The artist also discusses his interest in cinema and the films he was beginning to produce. 

Leia esta sinopse em português
Synopsis

Entrevista do artista Antonio Manuel concedida ao crítico Francisco Bittencourt. O artista relata o início de sua carreira, o "Salão da Bússola", a ação "Corpobra" no Salão Nacional de Arte Moderna (na qual se despiu, apresentando-se como obra), o projeto "Exposição de Antonio Manuel (de 0 a 24 horas nas bancas de jornais)" e seu interesse pela inserção nos jornais, os flans, seu interesse pelo cinema e os filmes que já havia realizado ou que começara a produzir.

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Annotations

Portuguese-born artist Antonio Manuel (b. 1947) moved to Rio de Janeiro as a child. His participatory, politicized, and even subversive work gained recognition on the Brazilian art scene in the late sixties. In the “flanes” series, for example, the artist intervened in the use of rubber stereotypes employed to print newspapers, going to the newspaper offices while the government censors were making their cuts. In 1970, the artist submitted his nude body as a work of art at the XIX Salão Nacional de Arte Moderna, defying the event bylaws that prohibited artists from being physically present during jury deliberations. In her book Brazilian Art Under Dictatorship, art historian Cláudia Calirman writes that the act was “not only a symbol of defiance against the arbitrary rules of art salons and exhibitions, but was also representative of the lack of consistent criteria for censorship of the arts by the military regime.” At that critical juncture, Antonio Manuel’s work focused on the problem of circulation in times of censorship and the mass media in recent Brazilian history.

 

Art critic Francisco Bittencourt was an active participant in the Rio de Janeiro art scene in the late sixties and early seventies. This interview can be seen as a secondary source insofar as it revitalizes critical debate at a pivotal moment in the political life of Brazil pursuant to the issuance of the Institutional Act Number Five decree by the dictatorship, a measure that revoked civil rights. This conversation encompasses both artistic tradition and counter-art. On previous occasions, Bittencourt had discussed Antonio Manuel’s generation and Do corpo à Terra, an event organized by Frederico Morais in 1970 in which Manuel took part (see “A geração tranca-ruas” [doc. no. 1110681]). Along with critic Paulo Herkenhoff, who was also an artist at the time, Bittencourt had taken an interest in art that entails radical questioning, as in “A arte experimental quer ‘questionar a sensibilidade vigente’” [doc. no. 1110612].

Leia este comentário crítico em português
Annotations

Antonio Manuel se destaca no meio de arte brasileiro no final dos anos 1960, com um trabalho de forte teor participativo, subversivo e politizado, como os seus flans e trabalhos como "Eis o saldo". Em 1970, o artista propõe o próprio corpo como trabalho de arte para o Salão Nacional e, sendo recusado, despe-se no museu, no dia da abertura da mostra. Manuel fez ainda um significativo conjunto de filmes naquela década. Francisco Bittencourt foi um crítico particularmente atuante no Rio de Janeiro do final dos anos 60 e da década de 70, tendo escrito diversos artigos sobre diferentes investidas experimentais e conceituais.

 

Ver também:

BERNADET, Jean-Claude,  AVELLAR, José Carlos, MONTEIRO, Ronald. Ainda sob a tempestade. In: Anos 70 Cinema. Rio de Janeiro: Europa, 1979-1980.
MANUEL, Antonio. Exposição de Antonio Manuel (de zero às 24 horas nas bancas de jornais).
PIGNATARI, Décio. Antonio Manuel, the cock of the golden eggs. In: Semiótica e literatura. São Paulo: Perspectiva, 1974, p. 165-166.
PONTUAL, Roberto. O belo e a bala. Jornal do Brasil, 13 nov 1975.
BITTENCOURT, Francisco. A aventura de Antonio Manuel. Tribuna da Imprensa, 17 nov 1975.
MORAIS, Frederico. Antonio Manuel: velar, des-velar, re-velar. O Globo, 14 jan 1976
SILVIA, Maria. Objetos, flans, jornais e filmes. A Gazeta, 15 jan 1976

 

c- Impasse da arte na sociedade de consumo: crítica à comunicação de massa. Manejo de meios de comunicação de massa pelos artistas

k- Arte acontecimento

k- Arte e vida. Corpo

k- Crítica institucional e revisão do campo de atuação artística

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Researcher
Equipe Brasil: Guilherme Bueno
Team
FAPESP, Sao Paulo, Brazil
Credit
Reproduzido com o consetimento de Aristóteles Angheben Predebon, São Paulo
Location
Museu de Arte Contemporânea de Niterói