By Sérgio B. Martins
Brazilian avant-garde artists of the postwar period labored from a primary yet effective out-of-jointness. They have been modernist yet far away from modernism. Europeans and North americans might believe an identical displacement while viewing Brazilian avant-garde artwork; the unforeseen familiarity of the works serves to lead them to surprising. In Constructing an Avant-Garde, Sérgio Martins seizes in this uncanny obliqueness and makes use of it because the foundation for a reconfigured account of the historical past of Brazil's avant-garde. His dialogue covers not just broadly well known artists and teams -- together with Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism -- but additionally vital artists and critics who're much less renowned outdoor Brazil, together with Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman.
Martins argues that artists of Brazil's postwar avant-garde up-to-date modernism in a fashion that was once significantly at odds with ecu and North American paintings old narratives. He describes defining episodes in Brazil's postwar avant-garde, discussing the most important severe texts, together with Gullar's "Theory of the Non-Object," a phenomenological account of neoconcrete works of art; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identification; the nonvisual flip and neglected encounters with conceptualism; and monochrome, manifestos, and engagement.
The Brazilian avant-garde's hijacking of modernism, Martins indicates, won additional complexity as artists started to face their overseas minimalist and conceptualist contemporaries within the Sixties and Seventies. Reconfiguring not just paintings heritage yet their personal background, Brazilian avant-gardists have been in a position to face modern demanding situations from a special -- and indirect -- standpoint.
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Additional info for Constructing an avant-garde : art in Brazil, 1949-1979
Photo: Daniel Coury. Chapter 1 45 (Non-)Objects does not entail that this passage is so smooth once we start from the viewer’s side. This is especially true vis-à-vis the neoconcretist paradigm of experience. 94 It is not that those preparatory drawings are irrelevant (and I will return to them). But to see them determining the meaning of experience is to ignore that the autonomy of phenomenological experience over making, or perhaps their evident out-of-jointness, is one of neoconcretism’s most basic tenets (in keeping with Pedrosa’s Gestaltian emphasis on reception).
9 It is here that one telling detail of Gullar’s anecdote should be singled out: his alleged disagreement with Pedrosa in defining Clark’s new work as a relief. 11 But it is from a theoretical perspective that this persistence of the “defeated” term both in the 1950s and in later interviews becomes truly remarkable. For it is tempting to see in Gullar’s objection that a relief always presupposes a surface on which it is constructed an implicit reference to Pedrosa’s theoretical field of expertise, Gestalt theory, with its own emphasis on forms differentiating themselves from a ground.
1 Waldemar Cordeiro, Untitled, 1958. Enamel on plywood, 51 × 51 cm. Private collection. Photo: Romulo Fialdini. Chapter 1 What I want to avoid is a facile opposition between an earlier concretism characterized as too “rationalistic” and its more “intuitive” adversary, neoconcretism; or at least, the internalization of these adjectives as essential attributes of well-defined movements. ” One of my aims, however, is to place this schism, to which I will return in due time, in a different historical perspective.