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A produção contemporânea e as imagens técnicas = Contemporary production and technical images
2007Fernando Cocchiarale wrote a historical overview of the pioneering uses of technology in art created in Rio de Janeiro, emphasizing the return of the close links between art and life initiated in the 1960s. The writer also foresaw the revival of the [...]ICAA Record ID: 1111427 -
Artes do espaço e fluxo do tempo = Arts of space and arts of time
2007Art critic and curator Fernando Cocchiarale argues that the expansion of the visual arts into other fields has implied greater distance from the traditions of which it formed part. The inclusion of time and space in art became an important mark of [...]ICAA Record ID: 1111426 -
Sinais da contemporaneidade no modernismo : do fazer à apropriação = Signs of contemporaneity in modernism : from producing to appropriating
2007Here Fernando Cocchiarale discusses how the fields of contemporary art have overflowed past their previous boundaries, going beyond painting, sculpture, printmaking, and drawing; he cites collage and photomontage in the early twentieth century as [...]ICAA Record ID: 1111425 -
Apresentação
1978In this text presenting the exhibition Objeto de arte Brasil anos 60, Daisy Peccinini describes the research carried out for the event, placing particular emphasis on the publication of a series of critical documents, statements, and interviews with [...]ICAA Record ID: 1111424 -
Apresentação
1988In his presentation of the exhibition 63/66: Figura e Objeto, Casimiro Xavier de Mendonça asserts that the sixties witnessed an explosion of utopias and changes with the advent of a new generation of creators. Regarding the exhibition, he attempts [...]ICAA Record ID: 1111423 -
Inventário do nosso feudalismo cultural
1968This manifesto voices a radical position on Brazil and its reality, and openly opposes the picturesque vision of Brazilian culture that, perhaps unwittingly, furthers underdevelopment. The signers of the document advocate the elimination of cultural [...]ICAA Record ID: 1111421 -
[Os trabalhos de Anna Barros...]
1990In this essay presenting an exhibition of work by Anna Barros, Agnaldo Farias asserts that this artist’s production returns vital and primary elements to the universe of myth. He comments on the expansiveness and specificity of works that place the [...]ICAA Record ID: 1111420 -
Artes plásticas no Nordeste
1997Ana Mae Barbosa points out the consequence of the internal diaspora of visual artists from Northeastern Brazil toward the major centers (São Paulo and Rio de Janeiro) starting in the 1960s. In her opinion, those artists were better prepared for a [...]ICAA Record ID: 1111417 -
Arte conceitual e uma nova crítica
1982In 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 [...]ICAA Record ID: 1111365 -
[Um dos mais notáveis casos de auto-fidelidade e coerência]
1986Olívio Tavares de Araújo introduces an exhibition of the work of Evandro Carlos Jardim, an artist he considers serious, upright, and aware of long-term standards in art. The writer notes that this was the first time the artist would be showing [...]ICAA Record ID: 1111357 -
Novos mineiros no Galpão
1991Walter Sebastião describes the activities at the group studio (located in a shed in Belo Horizonte) where eight young contemporary artists work together. They all explore different techniques and languages, but share a preference for a density of [...]ICAA Record ID: 1111287 -
Frida Baranek
1990Sônia Salzstein argues that the sculpture of Frida Baranek is linked to production from the seventies geared to artistic innovation, production that attempted to go beyond the dilemma between Brazilian roots and submission to international [...]ICAA Record ID: 1111286 -
Mineiros no Centro Cultural
1990In this text, Mario Ramiro comments on Construção Selvagem, a show of artists from Minas Gerais held at the Centro Cultural São Paulo. The author asserts that by bringing together various artists, group shows give rise to reflection and illustrate [...]ICAA Record ID: 1111283 -
Shiró : dos muros de Paris à memória amazônica
1986In the context of a text addressing the work of Flávio Shiró, Frederico Morais describes how the artist’s family moved from Japan to the Amazon region of Brazil and then to São Paulo. Morais depicts the artistic and intellectual milieu that Shir [...]ICAA Record ID: 1111282 -
A casa do fazer de Marcos Benjamim
1983In this critical text, Frederico Morais asserts that Marcos Benjamim’s work looks to childhood experiences in the province of Minas Gerais, where Morais himself grew up, turning them into a way of life. As a child, the artist was surrounded by [...]ICAA Record ID: 1111281 -
Entre a imagem e o conceito = Between the image and the concept
1998Writer and essayist Benedito Nunes, who was associated with the Universidade Federal do Pará (UFPa), wrote this text about an exhibition of work by Emmanuel Nassar. In it, he argues that twentieth-century painting entails two major gestures: a [...]ICAA Record ID: 1111268 -
A reconstrução do universo segundo Arthur Bispo do Rosário
1990In this text by Frederico Morais presenting an exhibition of works by Arthur Bispo do Rosário, the author attempts to demystify the marginalization of insanity and of artists in psychiatric institutions with an approach based on a contemporary [...]ICAA Record ID: 1111267 -
[As mudanças políticas e economicas e as conseqüentes...]
1995According to Ivo Mesquita, it is due to political-economic changes and social crises in Brazil—the results of a colonial project—that the country is influenced by the non-optimistic perspectives that have taken hold in the rest of the world with [...]ICAA Record ID: 1111266 -
Questões de materialidade
1988Sônia Salzstein focuses on paintings by the Brazilian artists Sérgio Sister, Nuno Ramos, Fábio Miguez, and Paulo Pasta. Her interest in these paintings is the relationship between the medium and the material nature of the work, considered [...]ICAA Record ID: 1111260 -
Luiz Henrique Schwanke
1987In this article, the art critic Adalice Araújo reviews the work of Luiz Henrique Schwanke and provides an outline of his career. His work attracted attention in the 1970s because of its links to Conceptual art and its subsequent alignment with the [...]ICAA Record ID: 1111247 -
Entrevista - depoimento
1985In this interview, Professor Walter Zanini assesses his role supporting artistic expressions that make use of the new media during his tenure as director of the Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP). Even during a [...]ICAA Record ID: 1111244 -
Artemicro : a microficha como suporte de arte
1982Here the eclectic artist Regina Silveira compares her serial project Artemicro with an imagined miniature, beautifully crafted version of Lewis Carroll’s book, Alice in Wonderland. To Silveira, the Artemicro project was installed in an open field [...]ICAA Record ID: 1111242 -
O antidocumentário, provisoriamente
1978In this essay, filmmaker Arthur Omar makes the argument that documentaries, although dependent on fictional cinematography, are commercially produced and are generally geared toward the masses. Between the experimental avant-garde and the progressive [...]ICAA Record ID: 1111235 -
As três dimensões do signo verbal
1985In this essay, Eduardo Kac raises the possibility of a symbiosis between poetry and the visual arts, based on the use of new technologies in both of these art forms. He recounts the triumphs achieved by Concrete art when it presented the liberation [...]ICAA Record ID: 1111228 -
Aguilar : a "visão do paraíso" no olhar aquilino
1983In this essay, the poet Haroldo de Campos—the pillar of the Concrete poetry movement—writes on the work of the painter José Roberto Aguilar. In a text written in poetic prose, he establishes the comparison between his pictorial perception to [...]ICAA Record ID: 1111225 -
Aspectos do não-objetualismo no Brasil
1981On the basis of the festive, bold, and boundless nature of the relationship between the social and the artistic in Latin America, critic Aracy Amaral argues that there is an integral connection between the creative and the political in the region. In [...]ICAA Record ID: 1111221 -
Etsedron II
196-In Aracy Amaral’s view, the debate around the Etsedron group could give rise to reflection on a Latin American aesthetic insofar as it entails an expressionistic and primitivistic interpretation of reality from an environmental perspective. Amaral [...]ICAA Record ID: 1111219 -
Partes para um ensaio (d’après Baravelli)
1987In this text, Olívio Tavares de Araújo presents the retrospective exhibition of Luiz Paulo Baravelli. While the basis for Baravelli’s proposal is coherent and free, Tavares de Araújo acknowledges the importance of intuition in its formulation. [...]ICAA Record ID: 1111204 -
HIRSCH : fugitivo do Brasil, malgré soi
1968Pietro Maria Bardi discusses the alarming number of Brazilians leaving the country, specifically mentioning Eugênio Hirsch, who had worked as a graphic artist in Rio de Janeiro, and was in Madrid working as the art director of a collection of books [...]ICAA Record ID: 1111195 -
O fechamento duma galeria paulista : rex : bandeira arriada
1967This is a report on the closing of Rex Gallery & Sons in 1967, a sad event due to the importance of that venue for Brazilian art from the sixties; the gallery played an important role in the struggle against a form of abstraction that no longer [...]ICAA Record ID: 1111185 -
O artista que vai e o que fica na América Latina
1967This article discusses a text by Argentine painter Luis Felipe Noé in which he asserts that the responsibility of Latin American artists begins when they leave the region to become part of the international art scene. While Noé [...]ICAA Record ID: 1111181 -
[Numa nota da seção Pintura & Escultura...]
1967This anonymous article discusses the exodus of Latin American artists departing for North America and Europe. It also addresses the lack of professionalism within the local art scene especially with regard to public support for art. Mention is made [...]ICAA Record ID: 1111180 -
O espaço do mito
1981On the basis of a reading of Carl Jung, Annateresa Fabris argues that there are two distinct types of artists: introverts and extroverts. She places Brazilian Wesley Duke Lee in the second category, which includes artists that lose themselves in [...]ICAA Record ID: 1111035 -
O Freud de Cascadura
1982Benedito Junqueira Duarte arranges the scattered memories of his cinematographic career in his book Caçadores de Imagens. In the chapter “The Freud of Cascadura,” Duarte mentions that the Primer Clube de Cinema in São Paulo was started in the [...]ICAA Record ID: 1111016 -
América Latina, ahora! Acción postal
1984This text asserts that the Amazon is a place of continuity of Latin-ness insofar as it is considered and envisions itself as representing an extension of artistic thought from the Americas. There is a responsibility, the document claims, to fully [...]ICAA Record ID: 1111014 -
Vídeo-arte : uma poética aberta
1978Walter Zanini considers video to be a universal art, acknowledging that its diverse aspects can be broken down into three areas: (a) the technical and abstract manipulation of electronic images; (b) the television as an object for construction of [...]ICAA Record ID: 1110892 -
[Incontáveis artistas cuja produção se inclui... ] = [Countless artists whose production may be included...]
1979In this text, art critic Walter Zanini presents the show Multimedia Internacional. In it, he argues that art from the seventies was highly influenced by artists who privileged semantic concerns. They cast aside aesthetic subjectivity to take part in [...]ICAA Record ID: 1110891 -
Uma fotografia criativa e seus impedimentos
1977Luis Humberto discusses the changes brought about by photography on the printed image. He does so by comparing the complications involved in the speed of the transfer of information via electronic images. In his opinion, photography is not dead, it [...]ICAA Record ID: 1110876 -
Juventude e cinema
1971In this article, the author draws the reader’s attention to the survival of cinema following the advent of television and mass media. According to Eduardo Llorente, the cinema is both a pure art and one of the visual arts. He recalls that one night [...]ICAA Record ID: 1110875 -
Fotografia abstrata? (Conclusão)
1959In João Koranyi’s view, the term “abstract photograph” contains a contradiction: the optical process that the camera itself entails is based on the objective reproduction of the object. Abstraction can be obtained without recourse to the [...]ICAA Record ID: 1110874 -
Foto conceitual
1977This text by Harumi Yamagishi provides information about artistic research in photography, a study undertaken by Roberto Okumura, who thinks that photography is, first and foremost, a support of ideas. In addition, photography is mentioned as a means [...]ICAA Record ID: 1110872 -
O dilema figuração - abstração
1964José Geraldo Vieira makes a distinction between figurative and abstract trends in art, wondering if this is an issue of criticism or perception. He hypothesizes that the saturation of aesthetic models—along with a simultaneity of approaches—is [...]ICAA Record ID: 1110841 -
Novas tendências e nova figuração
1964This open letter from Waldemar Cordeiro to José Geraldo Vieira is a response to an article by Vieira published in the magazine HABITAT. The main issue addressed is the emergence of Nova Figuração in reaction to the dilemma between abstraction and [...]ICAA Record ID: 1110840 -
Realismo : "musa da vingança e da tristeza"
1965Concrete artist and art theorist Waldemar Cordeiro comments on the emergence of new forms of realism in modern art, specifically in Pop art and New Realism, and a more personal strain of art called “popcreta.” Cordeiro considers the gains of [...]ICAA Record ID: 1110839 -
Materiais insólitos, desde o dadaísmo até a pop-art
1964The critic José Geraldo Vieira contemplates the inclusion of unusual materials in easel paintings instead of inks and pigments. He discusses the possibility of including glued-on paper, based on the Cubist trend, given the popular customs of that [...]ICAA Record ID: 1110837 -
Arteônica
1972Waldemar Cordeiro considers how art envisioned as information is conveyed in the mass media. Cordeiro acknowledges that art has become less traditional; its scale has changed and it has moved beyond the context of galleries to enter the urban and [...]ICAA Record ID: 1110836 -
Arte concreta semântica
1964Waldemar Cordeiro formulates a “semantic” version of Concrete art, which, in his view, implies a “qualitative leap” in relation to historical Concrete art as well as new tendencies in art from Europe. According to him, those tendencies were [...]ICAA Record ID: 1110835 -
As palavras e as coisas
1989In the opinion of the writer, Sônia Salzstein, Leonilson’s artwork allows us to identify conceptual parameters against which we can look at certain examples of contemporary art. She notes that the use of titles and texts (written on the paintings [...]ICAA Record ID: 1110769 -
Flávio 1 2 3 : louco lunático infantil
1983In this essay Sangirardi Jr. writes about Flávio de Carvalho. The author mentions eccentric aspects of the artist’s career, such as his controversial utopian expeditions and his bizarre ideas. Contrary to what most people think, all these very [...]ICAA Record ID: 1110717 -
Quasares : quase estrelas
1983In this text, Ana Maria Belluzzo analyzes the graphic exhibition Quásares, by Carmela Gross, focusing her argument from the point of view of the observer. She states that without the assistance of the usual references, the observer is forced to [...]ICAA Record ID: 1110716
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