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In this text, Sheila Leirner interweaves her critical thinking on art and on criticism itself, stating that the division between the critical function and the practice of art is being diluted by Conceptual art. Leirner believes that this art trend will stimulate criticism to reject its traditional role. In the article, she even proposes that criticism opt to simply create a record, to detect an art process, without attributing any imagined meaning to the work. In her opinion, contemporary criticism must no longer cling to a standard that divides concept and perception, nor must it interfere by changing the basic concept of the work. As Leirner sees it, criticism must form an alliance with the creative process.
Sheila Leirner faz uma reflexão sobre a crítica de arte. Fala que a divisão entre a função do crítico e do artista começa a ser eliminada com a arte conceitual. Acredita que seja um estímulo para a crítica que rejeita seu papel tradicional, e propõe considerar a opção de apenas detectar um processo artístico existente, sem atribuir significados imaginários. Para a autora, a crítica contemporânea não deve insistir na divisão entre concepção e percepção, nem interferir modificando o conceito fundamental da obra. A crítica deve ser cúmplice da criação artística.
Written in 1978, this meditation on art criticism and its relationship with Conceptual art resumes an earlier discussion stirred up by the caustic criticism of Frederico Morais in the early 1970s. In those years, from his Rio de Janeiro base, Morais proposed to articulate a “new criticism,” in which anyone who writes on art must become not just an ally, but even an artist in his own right (see “O público: O exercício da liberdade” [doc. no. 1110476]). From that starting point, Leirner added that any response to this proposal about criticism could be applied to the curatorial practice as well. In fact, she herself became more prominent in the mid-1980s while serving as director of São Paulo biennials.
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, and came to be the chief curator of two biennials in that period: 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 collection of her essays under the title Arte e seu tempo (São Paulo: Editôra Perspectiva, 1991), a book in which she began to set a priority on what she called “new art.” That was also the year Leirner returned to Paris, where she worked and specialized as an arts administrator. She represented the Galerie 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 was also on the scholarship committee for UNESCO-Aschberg.
In addition, there is another text in which Leirner analyzes the artwork produced in the 1970s and 1980s in Brazil, in the midst of pluralism in international art, entitled “Brasil: uma nova arte” [doc. no. 1110940].
Escrito em 1978, essa reflexão sobre a crítica de arte e sua relação com a arte conceitual retoma discussões de Frederico Morais no início da década de 1970, quando este propõe uma "nova crítica", na qual o crítico torna-se não apenas cúmplice, mas também artista. Uma possível resposta a tais questões seria a prática curatorial, pela qual Sheila Leirner se destaca na Bienal de São Paulo. Sheila Leirner é crítica de arte. Assina a coluna de artes plásticas do jornal O Estado de S. Paulo, e é correspondente do periódico em Paris, França. Foi curadora das edições XVIII e XIX da Bienal de São Paulo, em 1985 e 1987.
k- Impasses da crítica