Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    1111163
    TITLE
    Dos modernistas aos cinéticos : da ferocidade criativa de Matta ao espaço Latino Americano / Aracy A. Amaral
    IN
    Artistas Latino-Americanos de Paris. --- São Paulo, Brasil : Museu de Arte Contemporânea da USP, 1985
    DESCRIPTION
    p. 3 - 9
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Amaral, Aracy. "Dos modernistas aos cinéticos: da ferocidade criativa de Matta ao espaço Latino Americano."  In Artistas Latino-Americanos de Paris, 3- 9. Exh. cat., São Paulo, Brazil: Museu de Arte Contemporânea da USP, 1985.
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

This text by the art critic Aracy Amaral (b. 1930) describes an exhibition of work by Latin American artists living in Paris, which she curated at the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP) in 1985. The objective of this exhibition was to make people aware of the recognition and/or value conferred on the work of these art creators by their links to the French capital. Given its ongoing cosmopolitan profile, Paris had fostered the integration of these artists into the international art circuit, as opposed to what happened to young Latin American artists in New York. In this text, the writer tells the short history of these artists as they were living in Paris, comparing them with other Brazilian artists who had led the way for Modern art in Brazil. Aracy Amaral states that Paris conferred a certain respectability and distinction on the artists who showed their work there. In her opinion, this reinforced the fact that it remained a cultural reference point over time, in spite of the various ties with a number of countries in Latin America. She wrote in detail about important groups of these artists who, like it or not, were trained in the French milieu. This included “Los Disidentes” (made up of Alejandro Otero, Carlos Cruz-Díez and Jesús Rafael Soto) and the GRAV (Groupe de Recherche d’Art Visuel), headed by the Argentinean Julio Le Parc. Both these groups were vital reference groups with respect to Abstract and Kinetic art. The writer even ponders whether artists working in metropolitan New York depend on the markets in their home countries, while in Paris, artists have the European markets within reach. In conclusion, she sets forth some comments on the artists participating in the exhibition: Roberto Matta, Luis Tomasello, Arthur Piza, Luis Caballero, Enrique Zañartu, Carlos Cruz-Díez, Antonio Seguí, José Gamarra, Gontran Guanaes Netto, Luis Felipe Noé, Jack Vañarsky,  Flávio Shiró Tanaka and Le Parc, himself.

Leia esta sinopse em português
Synopsis

Trata-se de uma mostra de artistas latino-americanos residentes em Paris organizada por Aracy Amaral, no Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP), em 1985. O objetivo da exposição era demonstrar o reconhecimento e o valor que aquela cidade conferia às obras desses artistas. A capital francesa mantivera seu perfil cosmopolita, além de propiciar a integração dos artistas latinos no circuito, diferentemente do que aconteceu em Nova York. Neste texto, a autora realiza um breve histórico sobre a presença de artistas latino-americanos em Paris, exemplificando-a com os casos dos modernistas brasileiros. Aracy Amaral afirma que a capital francesa conferia respeitabilidade e distinção aos que lá expuseram e comenta o fato de a cidade preservar por muito tempo o posto de referência cultural para os artistas, apesar das diversas relações mantidas com os países da América Latina. A autora discorre, ainda, sobre grupos importantes de artistas latinos que se formaram no meio artístico francês, mais especificamente em Paris, como "Los disidentes" (integrado por Otero, Cruz-Diez e Soto) e o "Groupe de Recherches Visuels", de Le Parc, ambos com referências fundamentais para a arte abstrata geométrica e o cinetismo. Avalia, também, que se em Nova York os artistas latino-americanos dependem do mercado de seus países de origem, em Paris os artistas podiam contar com o mercado europeu. Em seguida, desenvolve comentários sobre os artistas participantes da mostra: Roberto Matta, Tomasello, Piza, Caballera, Zañartu, Le Parc, Cruz Diez, Seguí, Gamarra, Gontran Guanaes Netto, Noé, Vañarsky, Shiró.

Revert to English synopsis
Annotations

The art historian and critic Aracy Amaral (b. 1930) began her professional work in the 1960s as a researcher, professor, curator and director of arts institutions. Her close ties to the critics of Brazilian artwork during the last four decades have undeniably made her a highly respected critic of Brazilian art.

In the 1980s, when Amaral was director of the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP), she promoted an exhibition through which she sought to increase awareness of Paris as a center that was still significant for Latin American artists. Significant, in her view, regardless of the development of the NY Big Apple as an important center for art after World War II. Moreover, she defended her thesis that Paris not only fostered art, but provided a favorable space where these young artists had complete freedom to develop their own approaches, thanks to the access they had to the established European art market. It is worth remembering that Amaral was one of the leading promoters of integrating the Brazilian visual arts into the Latin American art world. In fact, in 1978, she organized the First (and only) Latin American Biennial of São Paulo. Similarly, she promoted countless efforts to procure the integration of MAC-USP into the institutional and curatorial network of the Latin American subcontinent, although that was ultimately a fruitless effort.

 

Amaral’s text “Política cultural: porque os Estados Unidos se interessariam pela arte latino-americana?” [see doc. no. 776487] addressed the low level of interest shown by U.S. museums—especially New York’s Museum of Modern Art (MoMA)—in Latin American art. The low interest level in another country was reported in her essay “Art in Latin America: permanencia de lo pintoresco” [doc. no. 807837], in which she criticized the curatorial criteria of the English exhibition Art in Latin America—curated by Dawn Ades.

Leia este comentário crítico em português
Annotations

Aracy Amaral, então diretora do Museu de Arte Contemporânea da USP, promoveu uma mostra em que pretendia demonstrar como Paris permaneceu como centro significativo para os latino-americanos, apesar do protagonismo de Nova York após a Segunda Guerra. Além disso, defende a tese de que a capital francesa não seria apenas um centro propagador, mas um espaço onde os artistas podiam trabalhar com liberdade, além de contarem com a receptividade do mercado de arte europeu. Deve-se lembrar que a crítica de arte foi uma das maiores defensoras da integração das artes visuais brasileira ao continente Latino-Americano, bem como promoveu inúmeras ações na tentativa de integrar o MAC/USP à rede de instituições do continente.

 

j- Exilio

Revert to English annotations
Researcher
Daria Jaremtchuk
Team
FAPESP, Sao Paulo, Brazil
Credit
Courtesy of personal archives of Aracy A. Amaral, São Paulo, Brazil
Location
Biblioteca do Museu de Arte Contemporânea da Universidade de São Paulo