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 text transcribes the article published in the French newspaper Le Monde reporting that the Federal Police Department of São Paulo sent to the local newspaper Folha de São Paulo a list of news items forbidden to be published. The censored subjects included, among others, the publication of student unrest, labor movements, and critical comments concerning the authorities, the armed forces, and institutional acts (decrees and laws enacted by the government since 1964). In addition, one of the commanders of the armed forces also stated that radio, print and television media should respect the revolution of March 1964 and should not cause unrest among the people. The order states that disagreements between the armed forces and the authorities not be mentioned.
Since its inception in 1951, the São Paulo Biennial has been the centralizing focus for the circulation and recognition of Latin American art. Due to the dictatorship affecting Brazil after the coup of 1964, several groups of artists decided to boycott the 10th São Paulo Biennial that was being planned for September 1969. In France, the leader of the boycott was Pierre Restany (1930–2003), a French critic and supporter of the New Realism, who collaborated in the journal Domus, published in Milan, and presided over the Palais de Tokyo (Paris). Restany was always interested in contemporary art and in achieving a closer rapport with Latin American Art.
This document describes the sources of information regarding the political situation prevalent in Brazil and the measures taken with reference to the field of culture. This document was chosen as a source because it describes the strategies articulated by the artists, vis-à-vis a regime of censorship, repression, and torture, imposed by the dictatorial policies in Latin America.