The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This fold-out pamphlet, from an exhibition of Geraldo de Barros, includes a collage of prints, newspaper clippings, and photographs documenting his career. It reproduces an article by Mário Pedrosa, originally published in O Estado de S. Paulo, that surveys the activities of modern Brazilian painters in Paris. It includes—among other items—a biography of the artist, articles on de Barros and on women Concrete artists, a series of portraits of the artist, sketches and fragments of “graphic notes of a discussion about Concrete art between Geraldo de Barros and Waldemar Cordeiro.” It reproduces the Ruptura manifesto [see in the ICAA digital archive (doc. no. 771349)], signed by both de Barros and Cordeiro, as well as the letter awarding de Barros the Francisco G. Spina Prize at the I Bienal de São Paulo.
A harbinger of abstract photography in Brazil, Geraldo de Barros (1923–98) set up a photography lab at the Museu de Arte de São Paulo in 1949. In 1951, he received a grant to study printmaking in Paris, as Pedrosa’s article notes, where he was in contact with future faculty members of Max Bill’s School of Advanced Studies in Form. Having met Waldemar Cordeiro through the exhibition 19 Pintores five years earlier, he initiated and signed the Ruptura manifesto in 1952, along with Cordeiro, Lothar Charoux, Luis Sacilotto, Leopold Haar, Kazmer Féjer, and Anatol Wladyslaw. That year, the Museu de Arte Moderna de São Paulo organized a solo exhibition of works by de Barros [see “A exposiçao de Geraldo de Barros” (doc. no. 1305772)], as it would again in 1977 [see “Geraldo de Barros doze anos depois do Grupo Rex” (doc. no. 1305022)]. De Barros participated in several São Paulo biennials (earning, as this document indicates, accession prizes in the first and ninth editions) and curated the photography section of the second biennial. He continued to be active in the country’s arts scene in the 1960s and 1970s, helping found a design cooperative, a graphic design studio, and the Grupo Rex, led by painter Wesley Duke Lee. By the mid-1980s, he was among the group of artists chosen to represent Brazil in the 43rd Venice Biennale (see doc. no. 13056690). This document accompanied an exhibition called “Espaço do Artista” at the Paço das Artes in September 1991.
[For more on Geraldo de Barros, see the following articles in the ICAA digital archive: by AGF “Geraldo de Barros exibe seus Jogos de Dados” (doc. no. 1305041); by Mario Strecker “Geraldo de Barros, contradicao entre mercado e arte” (doc. no. 1306644); by Eugen Gomringer “Movimento concreto brasileiro e suas repercussoes na Europa” (doc. no. 1305804); by Pietro Maria Bardi [“Geraldo vê…”] (doc. no. 10830490); by Geraldo de Barros “Da produção em massa de uma pintura (quadros a preço de custo)” (doc. no. 1110440); by Charoux, Cordeiro, de Barros, Féjer, Haar, Sacilotto, and Wladyslaw “Ruptura, Sao Paulo, 1952” (doc. no. 1232213); by Waldemar Cordeiro “Ponto parágrafo na pintura brasileira” (doc. no. 1085281); by Wilson Coutinho “Um retorno a Utopia” (doc. no. 1305669); by Antonio Gonçalves Filho “Geraldo de Barros leva o concreto para a Casa das Rosas” (doc. no. 1305820); by Ibiapaba Martins “Meia hora no ‘atelier’ do Jacaré” (doc. no. 1110647); and by Sérgio Milliet “Duas exposições” (doc. no. 1085432)].