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  • ICAA Record ID
    1111320
    TITLE
    Em Brasil High Tech, o xeque ao pós-modernismo
    IN
    Ensaios de arte, literatura e comunicação. --- Rio de Janeiro, Brasil : Contra capa, 2004
    DESCRIPTION
    p. 56- 59 : ill.
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Kac, Eduardo. “Em Brasil High Tech, o xeque ao pós-modernismo.” In Luz & letra: ensaios de arte, literatura e comunicação, 56- 59. Rio de Janeiro, Brazil: Contra Capa, 2004.
    GEOGRAPHIC DESCRIPTORS
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Synopsis

In this introduction, Eduardo Kac shows that the artists known as “Geração Brasil High-Tech” (including Otávio Donasci, Mario Ramiro, and Paulo Bruscky) represent a type of work that refers back to both Waldemar Cordeiro and Abraham Palatnik. For his part, Kac believes the works of the high-tech generation demand that the viewer throw off the concepts (which are often prejudices) previously acquired in life. Only then will viewers be able to absorb the experience of new sensory modes: perception of immaterial volumes and interaction with electromagnetic waves, robots, and databases. 

Leia esta sinopse em português
Synopsis

Nesta apresentação, Eduardo Kac procura mostrar que a "geração Brasil High-Tech" (Otávio Donaci, Mario Ramiro e Paulo Bruscky, entre outros) é representante de uma linhagem artística que tem Waldemar Cordeiro e Abram Palatnik como dois de seus precursores. Kac considera que as obras desta geração demandam um despojamento por parte dos espectadores de seus conceitos artísticos adquiridos, para experimentar novos modos de sensorialidade: percepção de volumes imateriais, interação com ondas eletromagnéticas, robôs e bancos de dados.

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Annotations

This text is the introduction to the exhibition Brasil High Tech held at the Galeria de Arte do Centro Empresarial Rio (Rio de Janeiro, 1986). The importance of this exhibition was that it brought to light other facets of artwork produced in the 1980s. That is, it featured work that had nothing to do with the Italian Trans-avantgarde or with Conceptual art, German Expressionism, or the much promoted “return to painting.” Eduardo Kac introduces works and artists that are investigating different types of sensory experiences through new technologies, in other words, new forms of creating art and artistic enjoyment that fall in with several ongoing investigations. One example is communication art, which laid the foundation for an “aesthetics of communications” (Fred Forest). As a pioneer of digital and transgenic art, Eduardo Kac began his investigation of new media with holography and video poems, thus obtaining instruments of political action via literature, and data to be used for his exploration of transgenic art. This article is one in an anthology of texts collected in his book, Luz & Letra, written during the 1980s, and published in Brazilian journals and newspapers. Luz & Letra offers a range of art and technology in Brazil, including a chronology, an introduction by Abraham Palatnik and a preface by Paulo Herkenhoff.  Using Rio de Janeiro as his base, the artist Eduardo Kac (b. 1962) involuntarily began his art life in the midst of what was known as “Geração 80,” characterized by reviving a form as obsolete (at the time) as painting. He was one of Brazil’s pioneers in investigating technology and the art scene. Kac is currently a professor in the field of art technology at the Art Institute of Chicago, in the United States.For other examples of Eduardo Kac’s contributions and perspectives on these matters, see “Origem e desenvolvimento da arte robótica” [doc. no. 1111127], “As três dimensões do signo verbal” [doc. no. 1111228], “GFP Bunny” [doc. no. 782231], “Microponto, microficha, videodisco: a arte high-tech em espaço microscópico” [doc. no. 1110966], and “Eduardo Kac: telepresença problematiza a visão” [doc. no 1111128].

As recognized by Kac, the first texts in Brazil on technological approaches of this kind were written and applied to his art practice in 1970 by Waldemar Cordeiro—a pioneer in the use of the computer as a vehicle for visual information. One of these is entitled “Computer plotter art - primeira mostra na América Latina” [doc. no. 1110487], and the other is specifically on electronic art, which the artist/writer called “Arteônica” [doc. no.1110836]. The poet Augusto de Campos was an artist linked to Concrete art who wrote on his experience, which began in 1953 with conventional types of art and moved into the use of holograms, in “Do tipograma ao videograma” [doc. no. 1111025]. 

Leia este comentário crítico em português
Annotations

Apresentação da Exposição "Brasil High Tech", realizada na Galeria de Arte do Centro Empresarial Rio, no Rio de Janeiro, em 1986. A importância desta exposição foi a de trazer à luz outras facetas da produção artística dos anos 1980, não filiadas nem à transvanguarda italiana, como a arte conceitual, nem ao expressionismo alemão, como o movimento do "retorno à pintura". Kac apresenta obras e artistas que procuram explorar, através das novas tecnologias, novas formas de sensorialidade, portanto novas formas de produção e fruição artísticas, em consonância com pesquisas como as da communication art, que lançam as bases de uma Estética da Comunicação (Fred Forest). Pioneiro da arte digital e transgênica, Kac partiu da investigação sobre novos suportes de leitura, como os poemas holográficos e em vídeo, e a busca por instrumentos de ação política por meio da literatura, para a investigação no campo da arte transgênica. O artigo faz parte da coletânea "Luz & Letra", reunião de textos diversos do artista brasileiro Eduardo Kac, radicado nos EUA, escritos nos anos 80, publicados em jornais e revistas brasileiras. O livro oferece um panorama da arte tecnológica no Brasil, contando também com uma cronologia, uma apresentação de Abram Palatnik e um prefácio de Paulo Herkenhoff.

 

l- Artes e tecnologias

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Researcher
Fernanda Pitta
Team
FAPESP, Sao Paulo, Brazil
Credit
Reproduzido com o consentimento de Eduardo Kac, Chicago, USA
Location
Biblioteca do Museu de Arte Contemporânea da Universidade de São Paulo