Red Shift Cildo Meireles and the Definition of the Political-Conceptual1 Camila Maroja

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red shift Cildo meireles And the definition of the politiCAl-ConCeptuAl1 CamiLa maroja

In 1967, Cildo Meireles, Brazil’s most internationally prominent experimental artist, envisaged an improbable but possible place: a white room fi lled with objects all in shades of red. The work that even- tually emerged from this vision, Red Shift (Desvio para o vermelho), was fi rst shown in 1984 at the Museum of Modern Art in Rio de Janeiro (MAM-RJ). In it, Meireles had expanded his initial project to incorpo- rate two unrealized artworks conceived independently in 1978: the fi rst, a tiny fallen bottle next to a disproportional quantity of liquid, and the second, an angled sink into which water constantly fl owed. Art critics have continually associated Red Shift with violence and politics, beginning with Ferreira Gullar’s laudatory 1984 comments and continuing with Paulo Herkenhoff’s 1998 press release promoting the 24th São Paulo Biennial, which established the enduring interpretation of the installation as a political piece.2

1 The author thanks John Baltes and the ARTMargins editors for their helpful questions and suggestions for improving this essay, Regina de Paula for scanning Malasartes’s images, and Ronaldo Brito, Cildo Meireles, José Resende, and Instituto Inhotim for enabling the copyright permissions for their images. 2 Ferreira Gullar wrote about the artwork in the magazine Isto é, in October 1984. Paulo Herkenhoff’s analysis linked the artwork to a story he was told by Meireles: as a child in Brazil, his father had taken him to see the place where, on the night a journalist had been assassinated, his colleagues had used his blood to write, “Here died a young man defending the freedom of the press.” Herkenhoff’s interpretation of Red Shift as inspired

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Revista Malasartes Revista magazine, but promotedgroundbreaking ashort-lived by theories socio-artistic the 1970s. By examining the in milieu artistic core Brazilian of the were at the that historiography art of alocal creation the and market art to the debates about resistance Meireles’s to cultural stance links art My reassessment of political-conceptual conceptualism. American Latin in artwork of political meaning to reconsider the conceptual” on society. effects its and art to analyze from which standpoint anew proposed tion genera movements, Meireles’s of art new creation artistic the and tures rup formal with concerned being than rather Therefore, history. art on perspective to anew birth genealogy, giving artistic of alocal ucts prod products, cultural autochthonous as function would works that space for to open art was goal his expectations, to colonial conform would that of identity markers or exotic commodities creating than Rather products. creator of cultural the as artist the proposed tion Meireles’s genera change, cultural orchestrating and ideology market of resisting aform As life. everyday navigate to perceive and ways other, more expansive presenting public, to the art open but also it, in embedded politics cultural the and art of commodification the both world, challenging art the in intervene not directly should only artwork apolitical Meireles, as such For artists market. art of logic the of the aproduct as viewed was “ism”s conceptualism) (including artistic into artworks of division the since art movement, specific to a confined flows. expression cultural which through circulation of art systems the governs that authority centralized for to the Meireles, linked, was aproduct into art of abbreviation This expression. scene ashowcasefor their Brazilian contemporary the denying experimentation, and creativity artistic stifled object collectible aesthetic, on emphasis the The styles. artistic into them aligning and works of art world commodifying toward Circuit”), Malasartes Circuit”), Art the of (“Analysis circuito” do “Análise Brito, Ronaldo Fiz. cited also Circuit,” Art the of “Analysis article his in Brito, Ronaldo critic the that note to interesting It is “political- label the of why question refused Meireles the I use not could be artwork concept of the political For generation, his (Ramírez, “Blue Print Circuits,” 156) Circuits,” Print “Blue (Ramírez, “art-as-idea-as-idea.” Kosuth’s of posture reductive generalizing, the by obscured 1 (1975):5–6. , no. , founded by Meireles and eight others in in others eight and Meireles by , founded

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maroja | red shift Downloaded from http://direct.mit.edu/artm/article-pdf/5/1/30/720306/artm_a_00131.pdf by guest on 28 September 2021 September 28 on guest by http://direct.mit.edu/artm/article-pdf/5/1/30/720306/artm_a_00131.pdf from Downloaded 52 artmargins 5:1 52 52 51 50 of their genetic contexts.” genetic of their devoid provinces the in arrive prototypes and “models which through York, New as from centers such paradigms of artistic imposition the study, exposed Smith acase scene as art Australian the Presenting of Conceptual art can be understood as part of an attempt by the the by attempt of an part as understood be can art of Conceptual 49 recognition.” for essential seemed time that protocolone artificial often the more centers’ contribute easily, from ‘art far without “those or that subservience to an externally imposed hierarchy of cultural values.” of cultural hierarchy imposed externally to an subservience of attitude an as primarily appears sentence: “Provincialism opening from its concerns local resonated with and Geyerhahn’s analysis echoed both relationships of metropolitan/provincial analysis “the passive acceptance of imposed cultural models.” cultural of imposed passiveacceptance “the and countries” underdeveloped in politics note “cultural as torial edi the brief in identified was ofProblem,” which theme” “central the Provincialism Smith’s of Terry re-publication the “The with periphery cultura brasileira,” Malasartes brasileira,” cultura da “Ideologia Mota, See ideas. Schwartz’s with engaged directly which Mota, Guilherme Carlos by Vision”) aHistorical for Origin of Points Culture: Brazilian of (“Ideology histórica” visão uma para partida de Pontos brasileira: cultura da “Ideologia article Malasartes for reference important an was Schwartz 1992). Verso, (London: Culture Brazilian on Essays Ideas: Misplaced Schwartz, Roberto status. subordinate her or his end to artist provincial the of desire the aprocess: minated illu rather contexts—but social certain to ideas imported some of inadequacy fact—the aknown to refer merely not did expression Schwartz’s periphery. the in dependency cultural of problem the tackle to Assis, de Machado novelist nineteenth-century the from aquote idea,” “misplaced term the coined Schwartz Roberto critic literary 1973 In “misplaced.” be could ideas imported some that fact the Brazilians: the to known well lem aprob on touches Smith translatable), directly or universal therefore (and neutral ically ideolog are products cultural no that Affirming 55. Problem,” Provincialism “The Smith, English. in version original the from quoting Iam 1(1974): no. 54–59. 13, Artforum in published originally was essay The 54. Problem,” Provincialism “The Smith, Malasartes Problem,” Provincialism “The Smith, Terry of the period to its socio-political situation, writing, writing, situation, socio-political its to period the of practices artistic the linked also curator show, the the in works the of nature ventional uncon the justifying essay catalog his In 140. catalog, exhibition 1970), 20, September 2– July Art, Modern of York: Museum (New Information ed., McShine, Kynaston 138) Information, (McShine, ingful?” mean and relevant seems that do artist ayoung as you can What canvas. of square a to tube alittle from paint of dabs apply and aroom into walk morning, the up in get to absurd, not if inappropriate, seem It may Indochina. in formally more or bed, your in universities, the in either at, shot be will you that fear may you States United the in living are you if and properly; “dressed” being not for or hair long having for jail in been has who aneighbor had have probably you Argentina, in one are you if tortured; being is who friend one atleast know you Brazil, in artist an are you If 49 addressed the problem center/ the of the addressed Malasartes Indeed, 52 Malasartes , no. 2 (1975): 11–14. , no. ’s of rebuke Kosuth’s theorization ’s editors, since they published the the published they since ’s editors, , no. 1(1975):30–32. , no. 50 Smith’s critical Smith’s critical 51 -

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maroja | red shift Downloaded from http://direct.mit.edu/artm/article-pdf/5/1/30/720306/artm_a_00131.pdf by guest on 28 September 2021 September 28 on guest by http://direct.mit.edu/artm/article-pdf/5/1/30/720306/artm_a_00131.pdf from Downloaded 54 artmargins 5:1 of seeing . no longerholds sway” of seeing Western hegemony ways the in proof that visible the be may tualism 57 57 56 55 54 modernism.” practices of the period. of the practices of artistic theorization the and history art conventional the in inherent difference colonial and dependency of notions cultural the lenged Malasartes constructs, historiographical Eurocentric of logic the inverting and genealogy artistic aBrazilian By claiming of originals. US or mere Western European imitations were derivative, products cultural Brazilian that old belief colonial the itas challenged narrative, dominant the to revise attempt artists’ Brazilian element in Kosuth’s, akey was essay preceding of Gullar’s case the cedence, in as ante or even notion of simultaneity, The avant-garde. artistic of an the concept of traits the defining and quality, originality with conflated precedence is amodel, to one movements such react In another. artistic asuccession of which in anarrative as envisioned been traditionally synchrony was a way to assert cultural independence. cultural to away assert was synchrony temporal for whom asserting artists, American Latin among concern astrong was imperialism center. from the Cultural distance ence than influ and of time issues more with was concerned history art local the that reveal of Malasartes pages the colonialism, for artistic reparation or conceptualism. art it Conceptual be to acommon label, tices prac experimental artistic of different reduces aplurality that legacy of Modernism’s legacy—a (and modernity’s) apart as understood be also worldcan equal and of aflat illusions its and globalization that world. argue Yet of the also one might parts from different artists works and including by domain European US–Western beyond the Latin America at the Museum of Fine Arts, Houston. Arts, Fine of Museum atthe America Latin in Art Avant-Garde Utopias: Inverted show 2004 her in displayed and essays Ramírez’s in mobilized also was region the of autonomy artistic the demonstrated antecedence America’s Latin that claim the and inversion This down. upside America South turned he America Inverted 1943 drawing García’s Torres Joaquín by illustrated as artists, American Latin other by and Andrade, de Oswald by Manifesto” “Anthropophagite 1928 modernismo Brazilian by used famously was strategy A similar expression. contemporaneous famous McLuhan’s Marshall use to Village,” a“Global of part be to attempt no makes and location geographical his of aware keenly is artist the (1970), Cross” Southern “The right, own its in artwork an as catalog Information the in published be to sent Meireles text the in For example, equivalence. of terms in not but well, as debated keenly was Geography 3. Ibid., Conceptualism Global al., et Camnitzer in “Introduction,” Bann, Stephen In contrast to an embrace of geographical equality as a gesture of agesture as equality embrace to of an geographical contrast In 54 Behind Bann’s optimistic assertion that “global concep that assertion Bann’s Behind optimistic 57 55 lies a desire to expand art history history art to expand adesire lies , epitomized by the famous famous the by , epitomized ’s chal editors 56 Art history has has history Art , 3. , in which which , in - - -

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Cildo Meireles. Desvio para o vermelho I, Impregnação (Red Shift I, Impregnation), 1967–1984. Mixed media. Inhotim Collection, Brumadino, Brazil. Image courtesy of the artist. Photograph by Daniela Paoliello.

Cildo Meireles. Desvio para o vermelho II, Entorno (Red Shift II, Spilled/Surroundings), 1967–1984. Mixed media. Inhotim Collection, Brumadino, Brazil. Image courtesy of the artist. Photograph by Pedro Motta. 59 style. specific any Malasartes tricked and no longer guides the viewer’s understanding of the world. of the viewer’sunderstanding the no and longerguides tricked is eye it work, the provokes audience. the perceptions In its in shifted of the because it also is term, the understood artists oftion Brazilian Meireles’s which in genera sense expanded the in artwork a political read be as can Shift Red if Additionally, potential. piece’sto the political add than rather detract would political-conceptual,” American “Latin as such helps marketability, To ultimately that acategory of art. use object an autonomousas status its by resisting the collector for of difficulties anumber piece, poses of installation broad description the into falling Shift Red intervention, of Emblematic this collected. to be objects as than rather change political and of cultural agents as artworks to see public the pushing for society, of art possibilities the revealed Meireles so In doing, it. in embedded politics cultural the and operandi modus system’s art the as thatserved art of commodification the both lenge to chal sought thus generation His world directly. art of the system the into but intervening by style, of particular any privilege or the view political of particular any expression the not through society in change las artes plásticas latinoamericanas plásticas artes las d Dos publication 1973 her in political as art American Latin of views her summarized Traba ideas. political propagate to content figurative employed and ing, paint and drawing as such techniques traditional on based was trends, art international follow not did that art American aLatin describe to resistance) of (art resistencia de arte of concept the offered who Traba, Marta critic art the by advocated one the to opposition Malasartes that note to important It is (Buenos Aires: Siglo Veintiuno Editores, 2005). Editores, Veintiuno Siglo Aires: (Buenos 1950–1970 latinoamericanas: cas ’s theorization of political art as a broad category unfixed to unfixed abroad as category art of political ’s theorization Mixed media.InhotimCollection, Brumadino, Brazil.PhotographbyPedroMotta. Cildo Meireles.DesvioparaovermelhoIII,(RedShift),1967–1984. 59 Meireles’s generation posited the path to effecting to effecting Meireles’s path the posited generation Dos décadas vulnerables en las artes pl artes las en vulnerables décadas Dos Traba, . Marta ’s concept of political art was also delineated in in delineated also was art political of ’s concept e cadas vulnerables en en vulnerables cadas , while , while - á - sti - - 57