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Figuras y aspectos de la vida mundial : El Segundo manifiesto del suprarrealismo (1)
1930According to José Carlos Mariátegui, Breton (in his second manifesto) “prosecuted” all the writers and artists who, having initially embraced surrealism, then renounced it. Though he mentions the attacks on Pierre Naville, he claims that the [...]ICAA Record ID: 1293556 -
[Manifiesto Grupo Brasileño Maldoror]
1967The magazine Los Huevos del Plata founded in Montevideo by Clemente Padín, published the manifesto of the Brazilian group Maldoror that politically identified itself with revolutionary and antimilitaristic principles that were plainly active during [...]ICAA Record ID: 1243177 -
[Somos mutantes, es decir, vividos...]
1966In 1965, the original manifesto of the magazine Los Huevos del Plata was an avant-garde platform advocating against Uruguayan cultural dominance by the so-called Generación del ’45, a group of writers who exerted and promoted their strong [...]ICAA Record ID: 1243157 -
Hachepiencia
1966This essay is on “Hachepiencia,” the manifesto produced by the Uruguayan group Los hachepientos, which was formed by Clemente Padín, Héctor Paz, and Juan José Linares. The principal objectives of the group were outlined in the manifesto [...]ICAA Record ID: 1243133 -
[Durante años, varias generaciones de uruguayos...]
1992In this leaflet Nelbia Romero expresses her goal of recognizing the identity and ethnicity of the indigenous race that once lived on the land that is now Uruguay. That race was, in fact, exterminated during the eighteenth and nineteenth centuries. [...]ICAA Record ID: 1238885 -
Las "acciones" de Teresa Vila
1969In an artistic “manifesto” published on a flier to be handed out to the audience, Teresa Vila explains the aims of her “action art,” also called “actions with theme,” which had political and media impact in Uruguay in the sixties. Her [...]ICAA Record ID: 1236324 -
El artista latinoamericano en relación al encuentro de dos mundos
1991This text is the manifesto of Latin American art issued by the Sindicato Uruguayo de Artistas Plásticos (SUAP) in 1991, after the Primer Congreso de Arte Hispanoamericano held in La Paz, Bolivia. It addresses issues facing the region as a whole, [...]ICAA Record ID: 1236260 -
Manifiesto1. Contestando a N.B.
1934In this text and newly arriving to his native country, Joaquín Torres García responds to the ostensive critique made by N.B. in the Issue No. 7, June−July 1934 publication of the magazine Movimiento. Since number 7 of the magazine Movimiento ( [...]ICAA Record ID: 1228450 -
Manifiesto de los Artistas Grabadores del Uruguay
1944Towards the end of 1944, the first core group of artistic engravers was created publishing its manifesto on the eve of the inauguration of the Primer Salón de Grabadores del Uruguay [The Fist Hall of Engravers of Montevideo on November 6th of that [...]ICAA Record ID: 1228293 -
Manifiesto: Movimiento Libre de Artistas Plásticos
1953This manifesto formed part of the exhibition catalogue of the exhibition by the Primer Salón del Movimiento Libre de Artistas Plásticos of Montevideo. It also included the list of the participants and the written bylaws. This manifesto was claimed [...]ICAA Record ID: 1228269 -
Contestando a Torres García
1934In his famous “Manifiesto 1,” Joaquín Torres García repudiates the article published in the Confederación de Trabajadores Intelectuales del Uruguay’s journal Movimiento. Torres García’s text, in turn, occasioned “Contestando a Torres [...]ICAA Record ID: 1208175 -
[Yo pertenezco a un pueblo real, maravilloso…]
1990This text, written on a “fan,” carries a message of protest from the visual artist Juan Loyola to the then president of Venezuela, Jaime Lusinchi (1984–89). Loyola expresses the revulsion he feels after the ex-minister Vinicio Carrera managed [...]ICAA Record ID: 1160337 -
Dos aspectos de una obra transformable-1952
1967ICAA Record ID: 1157287 -
Expansionismo : manifiesto 1
1967This is the first expansionist manifesto signed by a group of Venezuelan artists: the painter and sculptor Omar Carreño, the painter Andrés Guzmán, the sculptor Rubén Márquez, and the painter Alirio Oramas. The text of the manifesto calls for a [...]ICAA Record ID: 1157270 -
Expansionismo: Manifiesto 2
1967Only three members of the group were involved in the publication of the second expansionist manifesto: Omar Carreño and Rubén Márquez, both of whom were painters and sculptors, and the graphic designer Álvaro Sotillo. The text of the manifesto [...]ICAA Record ID: 1157254 -
Manifiesto : acta de fundación : Sindicato Único de Trabajadores en las Artes Plásticas
1976This is the founding statute, filed in Lima, Peru, of SUTAP (Sindicato Único de Trabajadores en las Artes Plásticas) [Sole Visual Arts Workers Union], an organization devoted to the recognition of the social function of art. The document states [...]ICAA Record ID: 1136267 -
Primer manifiesto : ligera exposición y proclama de la anti-academia nicaragüense
2002Signed by Nicaraguan poet José Coronel Urtecho (1906–1994) and eight other writers, including Joaquín Pasos Argüello (1914–1947) and Pablo Antonio Cuadra (1912–2002), this document is the first manifesto of the Anti-Academia Nicaragüense [...]ICAA Record ID: 1125703 -
Manifesto Flami-n’-assu
1927This manifesto is a call for (cultural) independence and was written from “a high Amazonian plateau,” in the state of Pará (where the author hailed from). The proclamation uses typical expressions and references the myths, customs, and [...]ICAA Record ID: 1111436 -
Frans Krajcberg
1992The exhibition of work by Frans Krajcberg at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) in 1992 had the desired effect due to the RIO 92 conference (Conferência das Nações Unidas sobre Meio Ambiente e Desenvolvimento). [...]ICAA Record ID: 1111379 -
A natureza reposta em arte
1980In this essay about Frans Krajcberg—the Polish-born artist who lives in Brazil—the critic Roberto Pontual notes that an essential element in the artist’s work is the connection he makes between nature and art. Pontual, who wrote this essay on [...]ICAA Record ID: 1111359 -
[Au moment où le general GEISEL...]
1976The signatories of this manifesto—a statement of solidarity with the struggle of the Brazilian people defending freedom of expression in all areas—are opposed to the dictatorship’s practice of using art as a symbol of prestige for the military [...]ICAA Record ID: 1111288 -
Aviso : é a guerra
1966The manifesto that launched Rex Gallery & Sons in the city of São Paulo addresses in passing issues facing the visual arts in Brazil such as the paucity of galleries that support the production of artists, the lack of specialized art criticism, [...]ICAA Record ID: 1111032 -
Liliana Porter
1978This is the thirteenth and last issue of Nervo Óptico. This one-page handbill includes a photograph taken by Liliana Porter, a work entitled the Ladder of fire. Porter used an image by the same title, which she clipped from an art book. After [...]ICAA Record ID: 1110925 -
Telmo Lanes Clovias Dariano
1978This twelfth issue of Nervo Óptico, which was published two months after the previous issue, presents a group photographic work created by Telmo Lanes and Clovis Dariano. Superimposed on a photograph of an empty chair, we see a photograph of the [...]ICAA Record ID: 1110924 -
"On Ice" : Amsterdam Fev. 78
1978The eleventh issue of Nervo Óptico shows the sequential photographic record of a performance presented by Flávio Pons, Cláudio Goulart and Vera Chaves Barcellos in Amsterdam in February 1978. Entitled On Ice, the event consisted of a gradual [...]ICAA Record ID: 1110923 -
"Sociedade Anônima" : relatos urbanos
1978This tenth issue of Nervo Óptico, still on an atypical bimonthly schedule, is double the usual size (32cm x 45cm) and folded in the middle. Its cover has the title “Urban Stories: Sociedade Anónima”. In addition, it bears this notice: “Any [...]ICAA Record ID: 1110922 -
Maria Tomaselli Cirne Lima
1978This ninth issue of Nervo Óptico appeared as a bimonthly issue (as the previous one), almost as an exception to the regular monthly schedule. This issue shows a figurative drawing (pencil on paper) by Maria Tomaselli [Cirne Lima] from her 1977 [...]ICAA Record ID: 1110921 -
[Pressupondo a necessidade do público]
1977This eighth issue of Nervo Óptico begins with an epigraph by the Brazilian art critic Mário Pedrosa, and a statement said to be collectively written by the Grupo N.O. This issue presents works exhibited in São Paulo, at the Galeria Eucatexpo. [...]ICAA Record ID: 1110920 -
A respeito do sorriso
1977The seventh issue of the journal Nervo Óptico showed the photographic work of Vera Chaves Barcellos, with text at the bottom of the page limited to “Regarding the Smile,” consisting of 15 photos arranged in five sets of three. Each photo has a [...]ICAA Record ID: 1110919 -
Paisagem sobre paisagem "Cena de Cidade"
1977This is the sixth issue of Nervo Óptico, which presents Clovis Dariano’s photographic work entitled “Landscape on Landscape: City Scene.” This is a landscape of an urban skyline (Porto Alegre, the capital of Rio Grande do Sul) observed from [...]ICAA Record ID: 1110918 -
[Obra fotográfica de Telmo Lanes sem título]
1977The fifth issue of the journal Nervo Óptico presents photographic work by Telmo Lanes (with neither title nor text). The image of an eye is shown in three sets of five photographs laid out in a circular composition. The artist’s own eye follows [...]ICAA Record ID: 1110917 -
[Aconteceu dia 13, como estava previsto no calendário...]
1977This is the fourth issue of the publication Nervo Óptico. This issue publishes “fake news” signed by the artist Carlos Pasquetti. Looking like news in a community newspaper, a photograph covers the entire editorial space, with the headline: “ [...]ICAA Record ID: 1110916 -
[projetos de recuperaçao da paisagem interna...]
1977This is the third issue of the publication Nervo Óptico. It shows works by Carlos Asp under the general title of “Projects to Recover the Internal Landscape: Self-Portrait on Live Elements.” One of these involves an installation with sketches of [...]ICAA Record ID: 1110915 -
Adansônia
1977This is the second issue of the publication Nervo Óptico. Like all issues of this publication except the first, there is neither an epigraph nor text; the name of the artist and the work are stated at the bottom of the page. This work is a series of [...]ICAA Record ID: 1110914 -
[Em manifestaçao realizada em dezembro último...]
1977This is the first issue of the Brazilian journal Nervo Óptico (April 1977). A seven-line text/statement (all the text in that publication) sets forth the manifesto written by the N.O. group in December 1976, which assumed a “critical stance [...]ICAA Record ID: 1110913 -
Declaração dos artistas de São Paulo sobre a II Bienal
1953A declaration written in manifesto format, in this text, artists and critics from São Paulo suggest a number of rules for the composition of the jury to select works for the II São Paulo Biennial (1953). The signers of the document demand a more [...]ICAA Record ID: 1110825 -
Manifiesto pro integración
1967This is a manifesto by graphic artist Julio Plaza in which he proposes that art, as relating to time and space, be integrated in an objective way, into an open environment that reverberates with life. He declared that the invention of the “ [...]ICAA Record ID: 1110751 -
Manifesto
1976The manifesto written by members of the Nervo Óptico group is critical of matters such as submitting artistic work to commercial pressure. The text, which was signed in Porto Alegre (Rio Grande do Sul), warns that the “market’s demands oblige [...]ICAA Record ID: 1110690 -
Vanguarda, o que é
1966In this article, Frederico Morais claims that the defining quality of the avant-garde is its permanent openness to research and novelty. He thinks that the Brazilian modern, anticlassical attitude is the expression of a truly Brazilian mood that also [...]ICAA Record ID: 1110377 -
Situação da vanguarda no Brasil
1966Hélio Oiticica attempts to describe the Brazilian avant-garde’s views concerning an innovative phenomenon that clearly reflects the national character of the country rather than being an imitation of the North Americans or the Europeans. “Nova [...]ICAA Record ID: 1110376 -
Declaração Poética para "Opinião 66"
1966This document is the catalogue for the exhibition Opinião 66, organized by Cérés Franco. It includes brief statements by participating artists, among them Lygia Clark who proposes “the precarious” as an existential concept. Hélio Oiticica [...]ICAA Record ID: 1110375 -
Declaração de princípios básicos da vanguarda
1967This manifesto—whose proponents were headed by the visual artist Antonio Dias—is essentially a statement of the principles that were adopted by a group of Brazilian avant-garde artists; these principles were inspired by the spirit of the 1960s [...]ICAA Record ID: 1110371 -
Testimonio y manifiesto de El Sindicato
2007Eduardo Márceles Daconte, the critic and art historian, reviewed the art produced in Colombia’s Caribbean region in a number of essays that were later published in the book Los Recursos de la Imaginación: Artes Visuales del Caribe Colombiano [ [...]ICAA Record ID: 1099501 -
Tercer manifiesto : ¿Por qué la ballena?
1987In the “Tercer Manifiesto” produced by El Techo de la Ballena (Caracas, 1961–68), Adriano González León explains the group’s activities and the bond they share, under the pretext of defending the group’s name, which had raised some [...]ICAA Record ID: 1097576 -
Manifiesto: Cuatro Muros
This text, presented as the manifesto of Galería Cuatro Muros [Four Walls Gallery], is based on the idea that all true artists are both “creators” and, therefore, “destroyers.” It recognizes the worth of abstract art for displacing interest [...]ICAA Record ID: 1097172 -
Manifiesto Excusado
2002This document is a preliminary sketch of the frontispiece for the first issue of Excusado, an independent publication in Bogotá, rendered one year before it was published (2004). The text contains the unpublished version of the Excusado manifesto as [...]ICAA Record ID: 1092473 -
Duas exposições
1952Critique by Sérgio Milliet of the manifesto recently released by grupo “ruptura” (1952) during the group’s inaugural show of geometric constructive art at the Museu de Arte Moderna de São Paulo in December of that same year. Despite praising [...]ICAA Record ID: 1085432 -
Ruptura
1953This text was written by Waldemar Cordeiro in response to Sérgio Milliet’s critique of his “Manifesto Ruptura” that was published in the newspaper O Estado de S. Paulo on December 13, 1952. In addition to replying to each one of Milliet’s [...]ICAA Record ID: 1085337 -
Um "movimento" imaginário : resposta a Gilberto Freyre
1972This is a summary of the accusations that Joaquim Inojosa leveled against Gilberto Freyre following the 1952 republication of the “Manifesto Regionalista” [1926]. According to Inojosa, the author changed the date of the manifesto in order to gain [...]ICAA Record ID: 1075396 -
Brasil (es)/Brazil(s)
1997In his essay, Paulo Herkenhoff seeks to portray Brazil as though it were one country and several countries at the same time, presenting its art as though it were both a singular and a multiple phenomenon. The critic thinks of Brazil as just a point [...]ICAA Record ID: 1075090
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