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Mário Pedrosa PRIMARY DOCUMENTS Editors Glória Ferreira and Paulo Herkenhoff Translation Stephen Berg Date 2015 Publisher The Museum of Modern Art Purchase URL https://store.moma.org/books/books/mário-pedrosa-primary-documents/911- 911.html MoMA’s Primary Documents publication series is a preeminent resource for researchers and students of global art history. With each volume devoted to a particular critic, country or region outside North America or Western Europe during a delimited historical period, these anthologies offer archival sources–– such as manifestos, artists’ writings, correspondence, and criticism––in English translation, often for the first time. Newly commissioned contextual essays by experts in the field make these materials accessible to non-specialist readers, thereby providing the critical tools needed for building a geographically inclusive understanding of modern art and its histories. Some of the volumes in the Primary Documents series are now available online, free-of-charge. © 2018 The Museum of Modern Art 2 \ Mário Pedrosa Primary Documents Edited by Glória Ferreira and Paulo Herkenhoff Translation by Stephen Berg The Museum of Modern Art, New York Leadership support for Mário Pedrosa: Copyright credits for certain illustrations Primary Documents was provided and texts are cited on p. 463. by The International Council of The Museum of Modern Art. Distributed by Duke University Press, Durham, N.C. (www.dukepress.edu) Library of Congress Control Number: 2015954365 This publication was made possible ISBN: 978-0-87070-911-1 with cooperation from the Fundação Roberto Marinho. Cover: Mário Pedrosa, Rio de Janeiro. c. 1958 p. 1: Mário Pedrosa in front of a sculp- Major support was provided by the ture by Frans Krajcberg at the artist’s Ministério da Cultura do Brasil. solo exhibition at Centre National d’Art Contemporain, Paris. 1975 Additional funding was provided by The Fran and Ray Stark Foundation, Title page: Mário Pedrosa, Paris. 1976 the Consulate General of Brazil in New York, Louis Antoine de Ségur p. 13, clockwise from top left: de Charbonnières, Andrea and José Mário Pedrosa with Brazilian artists Olympio Pereira, Frances Reynolds, Flavio Shiró, Arthur Luiz Piza, and and Jack Shear. Sérvulo Esmeraldo, La Potée des Halles, rue Étienne Marcel, Paris. 1975; Produced by the Department Mário Pedrosa with Lygia Clark, La of Publications, The Museum Palette, Paris. 1974; Mário Pedrosa with of Modern Art, New York Alexander Calder, Saché, France. c. 1974; Mário Pedrosa at Alberto Magnelli’s Christopher Hudson, Publisher home, Meudon, France. 1969; Mário Chul R. Kim, Associate Publisher Pedrosa with French writer, poet, and David Frankel, Editorial Director founder of the Musée National d’Art Marc Sapir, Production Director Moderne de Paris, Jean Cassou, Musée d’Art Moderne de la Ville de Paris. 1973 Edited by Libby Hruska Designed by Gina Rossi p. 73, clockwise from top left: Translation by Stephen Berg Djanira da Motta e Silva. Embarque de Index by Barbara Smith bananas (Banana shipment) (detail). Production by Hannah Kim 1957. See plate on p. 89; Tarsila do Amaral. A negra (The black woman) Printed and bound by Ipsis (detail). 1923. See plate on p. 77; Luiz Gráfica e Editora, São Paulo, Brazil Sacilotto. Concreção 5629 (Concretion 5629) (detail). 1956. See plate on p. 81; This book is typeset in Chronicle Ivan Serpa. Formas (Forms) (detail). Text G2 and RBNo2.1. 1951. See plate on p. 84; Anna Bella The paper is 150gsm Eurobulk. Geiger. Meat on the Table (detail). 1969. See plate on p. 94 Published by p. 97, clockwise from top left: The Museum of Modern Art Newspaper image from May 20, 1972, 11 W. 53 Street of Chilean president, Salvador Allende, New York, New York 10019 greeting Mário Pedrosa at the Museo de (www. moma.org) la Solidaridad (Museum of solidarity), Santiago, Chile; Mário Pedrosa with © 2015 The Museum of Modern Art, French critic Pierre Restany, Musée New York. All rights reserved d’Art Moderne de la Ville de Paris. 1973; Mário Pedrosa and Lula (Luiz Inácio All original texts by Mário Pedrosa Lula da Silva). 1980. Centro de Docu- © 2015 Vera Pedrosa. mentação e Memória da Universidade do Estado de São Paulo; Mário Pedrosa English translations from the original and Grupo Frente. 1955. Collection Portuguese © 2015 The Museum of Ferreira Gullar Modern Art. Printed in Brazil Contents Foreword 9. Glenn D. Lowry Acknowledgments 11. Jay A. Levenson and Sarah Lookofsky Essays The Permanent Revolution of the Critic 14. Glória Ferreira A Strategic Universalist 23. Kaira M. Cabañas Radical and Inclusive: Mário Pedrosa’s Modernism 35. Adele Nelson Naturally Modern: Mário Pedrosa and Architectural Criticism 43. Lauro Cavalcanti A Revolution of Sensitivity 52. Catherine Bompuis Mário Pedrosa’s Somersault 58. Marcio Doctors The Critical Exercise of Freedom (2013) 62. Dore Ashton Mário Pedrosa: A Man without a Price (2001) 65. Aracy Amaral Mário Pedrosa Today (2000) 68. Otília Beatriz Fiori Arantes Plates 73. Primary Documents Translator’s Note 98. Stephen Berg 1. Theoretical and Aesthetic Speculations 101. Introduction 102. Glória Ferreira The Vital Need for Art (1947) 103. Science and Art: Communicating Vessels (1960) 113. Crisis of Artistic Conditioning (1966) 118. Crisis of Poetry: Art and Communication (1967) 122. Aesthetic Speculations I: The Conflict Between “Saying”and “Expressing” (1967) 125. Aesthetic Speculations II: Form and Information (1967) 128. Aesthetic Speculations III: Endgame (1967) 131. World in Crisis, Man in Crisis, Art in Crisis (1967) 135. 2. Cultural Politics and the Art System 139. Introduction 140. Izabela Pucu The Concretist Paradox (1960) 141. Experimental Art and Museums (1960) 142. Venice: Art Fair and Art Politics (1966) 143. The “Silkworm” in Mass Production (1967) 147. Art of the Caduveo, African Art, Contemporary Artists (1968) 150. The Bienal from Here to There (1970) 153. Between the Week and the Biennials (1973) 157. On the Eve of the Bienal (1973) 165. Speech to the Tupiniquim or Nambá Peoples (1975) 169. The New MAM Will Consist of Five Museums (1978) 173. 3. History of Criticism 175. Introduction 176. Rodrigo Krul Modern Art Week (1952) 177. Foundations of Abstract Art (1953) 187. Brazilian Painting and International Taste (1957) 192. Calligraphic Abstraction (1959) 193. The Paradox of Modern Brazilian Art (1959) 195. Crisis or Revolution of the Object: Tribute to André Breton (1967) 196. Gewgaws and Pop Art (1967) 199. 4. Criticism of Criticism 203. Introduction 204. Izabela Pucu The Critic’s Point of View (1957) 205. More About the Critic (1957) 207. Before the Work of Art (1957) 209. The Order of the Day: The Terminology of Criticism (1957) 211. Outdated Considerations (1959) 213. Tradition and Criticism in Japan and in the West (1959) 214. The Critic and the Director (1960) 217. On the Stuffed Pig; or, Criteria for Criticism (1968) 218. The Art Critic’s Obligations to Society (1969) 222. 5. Art Criticism 227. Introduction 228. Rodrigo Krul Villa-Lobos and His People: The Brazilian Perspective (1929) 230. The Social Tendencies of Art and Käthe Kollwitz (1933) 233. Portinari: From Brodowski to the Washington Murals (1942) 240. Tension and Cohesion in the Work of Calder (1944) 253. Giorgio Morandi (1947) 262. Modulations Between Sensation and Idea (1950) 264. Ivan Serpa’s Experiment (1951) 267. Grupo Frente (1955) 269. Concrete Poet and Painter (1957) 272. Paulistas and Cariocas (1957) 274. Maria the Sculptor (1957) 276. Lasar Segall (1957) 277. Di Cavalcanti (1957) 279. Volpi, 1924–1957 (1957) 281. Lygia Clark, or the Fascination of Space (1957) 286. After Tachism (1958) 288. Iberê Camargo (1958) 289. Milton Dacosta: Twenty Years of Painting (1959) 291. Advantage of the Primitives (1959) 296. The Two Positions; or, Pollock and Vedova (1959) 297. The Significance of Lygia Clark (1960) 299. Aluísio Carvão (1961) 305. Hélio Oiticica’s Projects (1961) 308. Klee and the Present (1961) 310. Mira Schendel (1963) 311. Franz Weissmann (Special Room) (1965) 312. Environmental Art, Postmodern Art, Hélio Oiticica (1966) 314. From the Dissolution of the Object to the Brazilian Avant-Garde (1967) 317. From American Pop to Dias, the Sertanejo (1967) 320. Anna Bella Geiger (1968) 324. Antonio Manuel. On Antonio Manuel’s Presentation at the Opening of the Salão Nacional de Arte Moderna, as a Work of Art (1970) 325. Camargo’s Sculpture (1975) 328. Miró Among Poets (1976) 329. Lygia Pape (1979) 335. 6. Architectural Criticism 337. Introduction 338. Lauro Cavalcanti Modern Architecture in Brazil (1953) 339. Reflections on the New Capital (1957) 346. Architecture and Art Criticism I (1957) 355. Architecture as Work of Art (1957) 357. Architecture and Art Criticism II (1957) 359. Burle Marx, the Landscape Architect (1958) 360. Oscar Niemeyer’s Statement I (1958) 362. Lessons from the International Congress of Critics (1959) 364. 7. A Singular Socialist 375. Introduction 376. Glória Ferreira Indigenous Art: The Choice of the Critic Who Grew Weary of the Avant-Garde (1977) 376. Pedrosa: The Time Is Right for Creating a New SP (1978) 379. Art Is Not Essential. The Intellectual’s Profession Is to Be a Revolutionary (1981) 390. 8. Correspondence 403. Introduction 404. Izabela Pucu Mário Pedrosa to Mário de Andrade (1927) 405. Lebrun [Mário Pedrosa] to Leon Trotsky (1940) 406. Alexander Calder to Mário, Mary, and Vera Pedrosa (1949) 411. Mário Pedrosa to Oscar Niemeyer (1958) 412. Ferreira Gullar to Mário Pedrosa (1959) 417. André Breton to Mário Pedrosa (1959) 418. Lygia Clark to Mário Pedrosa (1964) 419. Open Letter to the President of the Republic of Brazil General Garrastazu Médici (1970) 421. Mário Pedrosa to Guy Brett (1972) 422. Mário Pedrosa to Hélio Oiticica (1972) 422. Mário Pedrosa to Harald Szeeman (1972) 425. Dore Ashton to Mário Pedrosa (1972) 426. Mário Pedrosa to Dore Ashton (1972) 428. Mário Pedrosa to Pablo Picasso (1972) 430. Mário Pedrosa to Giulio Carlo Argan (1972) 430. Hélio Oiticica to Mário Pedrosa (1973) 434.
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    SOBRE UMA NÃO-TRADUÇÃO E ALGUMAS TRADUÇÕES DE “L’INVITATION AU VOYAGE” DE BAUDELAIRE Álvaro Faleiros Je sais l’art d’évoquer les minutes heureuses! Charles Baudelaire Sobre uma não-tradução de “L’invitation au voyage” Vera de Azambuja Harvey, no artigo “Tradução e transcria- ção em Os gansos selvagens de Bassan”, romance da escritora e poeta quebequense Anne Hébert, comenta que dentre os problemas de tradução com que se deparou ao longo da tradução, um dos mais “interessantes” foi o da intertextualidade. E o problema de inter- textualidade mais complexo foi a tradução do seguinte fragmento do poema “L’invitation au voyage”: Tout y parlerait À l’âme en secret Sa douce langue natale. * (HARVEY, Vera Azambuja. “Tradução e transcriação Vera Harvey comenta que, no romance de Hébert, “a forma em Os gansos selvagens de em verso não foi preservada e foi necessária uma leitura atenta pa- Bassan”, Cadernos do CEF * no 3, Niterói, Centro de Es- ra detectar esse recurso” na obra da autora quebequense. A tradu- tudos Francófonos da UFF, 1988: 117.) tora assinala, em seguida, que fazia parte de seu horizonte de ex- * * (Idem.) pectativas “também ter leitores atentos”; motivo pelo qual, pro- * * (Ibidem.) curou “versos de um poeta brasileiro que se adequasse ao texto”. A solução encontrada foi o seguinte trecho da “Canção do exílio” de Casimiro de Abreu: Quero morrer cercado de perfumes Dum clima tropical E sentir expirando as harmonias Do meu berço natal! Na verdade, a associação feita foi entre “L’âme en secret/ sa douce langue natale” e “as harmonias/ do meu berço natal”.
  • Frederick Kiesler Y El Teatro De Vanguardia

    Frederick Kiesler Y El Teatro De Vanguardia

    Oppidum, nº 2. Universidad SEK. Segovia, 2006, 291-320 - I.S.S.N.: 1885-6292 FREDERICK KIESLER Y EL TEATRO DE VANGUARDIA José Luis Luque Blanco Universidad SEK [email protected] Resumen Análisis y evolución del Espacio Escénico a través de la obra e investigación artística del arquitecto Frederick John Kiesler (1890-1965). Palabras clave: Vanguardia, Espacio escenográfico, Estética de la máquina, Innovación, Flexibilidad. Summary Scene Space: Analisis and avant-garde progress through the work and the art rese- arch of architect Frederick John Kiesler (1860-1965). Key Words: Avant-Gard, Scene Space, Machine aesthetic, Innovation, Flexibility, Endless. ******* 291 JOSÉ LUIS LUQUE BLANCO Frederick John Kiesler (1890-1965), arquitecto, escultor, pintor, diseña- dor de interiores, tipógrafo y poeta, proyectó pabellones de exposiciones, gale- rías de arte y escaparates de grandes almacenes, escenografías para teatro y ópera, muebles y alojamientos prefabricados, rascacielos y sus llamados Endless. Nació en Cernauti, Bucovina (Rumania) cuando formaba parte del Imperio Austro-Húngaro aunque todas las referencias sobre su infancia y educación le vinculan con Viena. Se nacionalizó americano en el año 1936. Frederick Kiesler participó de los espacios estilísticos del Expresionismo, De Stijl, Futurismo, Elementarismo, Cubismo, Neoplasticismo y otras categorías artísticas de nuestro siglo. Esto dio como resultado un con- junto de trabajos complejo y multifacético. Fue pionero en el diseño de nuevas formas de escenarios, teatros, cines y galerías de arte. Además, escribió una importante y extensa obra teórica y colaboró con grandes figuras del Movimiento Moderno o de la generación de artistas más jóvenes del Nueva York de Postguerra como Adolf Loos, Theo van Doesburg, Marcel Duchamp, Arshile Gorky, Willem de Kooning, Robert Rauschenberg, entre otros.
  • Latin America

    Latin America

    Latin America Argentina A,.FTE, R TWO and a half years of General Juan Carlos Ongania's revolutionary government, Argentina's economic, social, and political prob- lems remained far from solved. The June 1966 revolution abolished constitu- tional rights; dissolved political parties; modified the federal system; ended the independence of the judiciary system and the autonomy of the national universities, and established government by decree of the "Statute and Aims of the Revolution.' From the start, its leaders proclaimed that the fulfillment of their aims would take several years, and that, until such time, no democratic elections could be held. Yet, Ongania told the military leaders in May 1968 that the government was heading toward representative democracy, not a corporate state. Opposition to the government, mainly by past leaders of the banned political parties, was strong because liberals feared that "its anti-democratic tendency was leading it towards a nationalist philosophy and even a corporate state." The issue of elections was particularly complicated since even those urging a democratic process felt that, politically, the country was not ready for it. And this because internal struggles divided and considerably weakened the banned parties. In June ex-President Arturo Frondizi told the Foreign Press Association that the revolution would terminate either in a personal dictatorship or in premature elections. In a state-of-the-nation address, in July, President Ongania outlined the course of the revolution: The primary or reconstruction stage would be completed at the end of 1968 or early in 1969, to be followed by social reconstruction. Decentralization of the federal government would continue to permit greater autonomy of the provinces; the economy was to be geared to serve the nation.