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  • ICAA Record ID
    1232176
    TITLE
    Exposição nacional de arte concreta : artes visuais poesia
    IMPRINT
    São Paulo, Brasil : Museu de Arte Moderna, [1956]
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Other – Other
    BIBLIOGRAPHIC CITATION
    “Exposição nacional de arte concreta: artes visuais poesia.” Poster of the First National Exhibition of Concrete Art. Sao Paulo, Brasil, December 1956.
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

This is a promotional poster for the inaugural Exposição nacional de arte concreta: artes visuais [National Exhibition of Concrete Art], held in December of 1956 at the Museum of Modern Art in Sao Paulo and then in January and February of 1957 at the Ministry of Education and Culture in Rio de Janeiro. The exhibition brought together visual artists and poets displaying posters, poems, sculptures, drawings, and other visual works, and also included conferences and lectures on the principles behind Concrete art.

Annotations

According to the poet Décio Pignatari, this exhibition was the first national gathering of avant-garde artists and poets in Brazil. Artists such as Geraldo de Barros (1923-1998), Aluísio Carvão (1920-2001), Lygia Clark (1920-1988), Waldemar Cordeiro (1925-1973), João José da Silva Costa (born 1931), Judith Lauand (born 1922), Maurício Nogueira Lima (1930-1999), Hélio Oiticica (1937-1980), Luiz Sacilotto (1924-2003), Alfredo Volpi (1896-1988), Alexandre Wollner (born 1928), Lothar Charoux (1912-1987), Amilcar de Castro (1920-2002), and Ivan Serpa (1923-1973) exhibited some of their works. Also, besides Pignatari, the poets Haroldo and Augusto de Campos, Ferreira Gullar, and Ronaldo Azeredo participated in the events.

The National Exhibition of Concrete Art provided a national forum for the Concretist tendencies influenced by de Stijl movement (1917–31). It brought together the works of Brazilian Concretists, and also highlighted the differences between groups and tendencies. For example, the São Paulo group concentrated on the form, while the Rio de Janeiro group placed great emphasis on intuition in artistic expression. The National Exhibition of Concrete Art thus marked the start of the Neo-Concretist rupture, which culminated in the Manifesto of 1959, signed by Amilcar de Castro, Ferreira Gullar, Franz Weissmann (1911-2005), Lygia Clark, Lygia Pape (1927-2004), Reynaldo Jardim (1926-2011), and Theon Spanudis (1915-1986). Against the Constructivist canons and the rigour of geometrism, the Neo-Concretists argued for experimentation, the return to free expression and subjectivity.

Researcher
Nora Nava-Heymann
Team
International Center for the Arts of the Americas, MFAH, Houston, USA
Credit
The Adolpho Leirner Collection of Brazilian Constructive Art, museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund.
Reproduced with permission © Waldermar Cordeiro Estate, 2013
Location
Adolpho Leirner Archives at the Museum of Fine Arts, Houston