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Home , Anna Bella Geiger, Brazilian painting, Wesley Duke Lee

artists andinventors aswell movementsartists astoexperimental artistic and militarmeaning, sense, andstressesitsartistic applyingitto The poetandcritic Augusto deCamposclarifiestheterm’s topological thus discovering theunknown. forany surpriseattack,the troopsonbattlefieldandinalert controversial origin, termofmilitary whichmeansbeingaheadof explanation oftheconceptavant-garde, or “Vanguard”, a The discussiononneo-avant-gardes movements refers tothe and contextualization 2 – . inthecitiesofSãoPaulo,critics andartists RiodeJaneiroand in theyears of1960and1970, especiallytheactionsofmilitant then, I will map the situation of Brazilian neo-avant-garde movements of avant-garde ofthe20thcentury; andneo-avant-garde intheart historians.philosophers andart Firstly, Iwilldiscusstheconcepts and 1970, from a historiographic point of view as held by critics, in during the years 1960 My proposal is to reflect upon art 1 –Introduction art. Keywords: de JaneiroandBeloHorizonte. inthecitiesofSãoPaulo,actions ofmilitantcriticsandartists Rio situation ofBrazilianneo-avant-garde movements, especiallythe ofthe20thcentury,concepts intheart with commentsonthe the years 1960and1970, fromavant-garde andneo-avant-garde Abstract: Carolina Azevedo Translatedby Ana Ribeiro Marilia Andrés Thoughts uponBrazilian A vant Neo-avant-garde movements. . Contemporary -gardes This article is a reflection upon art inBrazilduring isareflectionuponart This article and neo-avant art inthe -gardes: conceptualization years 1960 and 1970 MARILIA ANDRÉS of the Avant-Garde the of avant-gardes –Futurism, Constructivism, DadaismandSurrealism–, 3. ofhistorical -Thethirdonecorrespondstothearticulation emergence ofImpressionism, Symbolismand Nouveau. Art isolated andself-reflectingaesthetic experience, resultinginthe art’s self-reflection andbecamesignificantastheintensificationof art. For Bürger, aestheticismmarked themomentofbourgeois language thatwould ofthework unravel structure of theinternal forms ofrepresentationforaninnovative andexperimental artistic formalism, of forart’s“art sake”, aimedatreplacingthetraditional 2. Thesecondone correspondstotheformulationofaestheticism, of new worldcenteredontheharmony between individualandsociety. ofa with theutopianintellectualsandoverlooking theconstruction (aself-proclaimedgenius),marginalisation oftheartist combined and theriseofananonymous capitalistmarket, responsibleforthe This periodalsosaw theemergence oftheindustrialbourgeoisie autonomy throughmovementsart suchasRomanticismandRealism. andby ofthecourts discussionconcept aristocratic art utopian project, guidedby thequestioningof Academy andthe 1. Thefirstonecorrespondstotheintroductionofmodern up, Bürger pointsoutthreedistinctavant-garde phases. right uptothehistoricalavant-gardes ofthe20thcentury. To sum inEuropesincetheendof18thcentury,of thebourgeois art studies the origins as well as historical and social transformations In 1974, Peter Bürger elaboratedhismoreenlighteneing the politicalandsocialdirection of suchmovements (Campos, 1993). movements in the 20th century’s cultural context, but does not clarify of avant-gardes andsituatestheavant-garde andneo-avant-garde languages. Campos’s readingpresentsawideetymological concept manifestations emergeinnovative to give strenght to artistic artistic ofanother,avant-garde encouragesthebirth thusalways letting process oftheavant-gardes, whichmeansthatthedeathofan critic makes acyclicalinterpretationoftheinnovation/assimilation Wars oftotalitarianregimes. andtheoppressiveintervention The gardes withinadifferentcontext, afterthecatastropheoftwo World century, resumed and developed the proposals of historical avant- garde movements, whichemerged inthesecondhalfof20th languageofourage,assumptions oftheartistic andtheneo-avant- avant-gardes createdthe ofthefirstdecades20thcentury new ideasandcollectiveregimentation. Camposshows thatthe shows itselfthroughslogans, manifestsandtexts inordertospread avant-gardes thatisdistinguishedfromthecontingentaspectwhich gardes”. Itemphasizestheinnovative andpermanentnatureof that emerged 20thcentury, in the early called “historical avant- RIBEIR O, Thoughts upon Brazilian art in the years 1960and1970 intheyears Thoughts uponBrazilian art , guidedby Marxistthoughts(Burger, 1984). He Theory Theory

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188 ENGLISH REVISTA PORT context of libertarian movementscontext that occurredinEuropeandthe oflibertarian , NewRealism, Fluxus, happeningsandassemblagesinthe ownership, popular culture and icons of the consumer society. He puts sensibility,signals akindofpostmodern inthesenseofmassculture elitistprojectand movement with themodern thatcauses rupture In contrast, ofPop the author indicatestheimportance asa Art regards by tothecontaminationofartwork industrialproduction. separation between classicalandmasscultureduetothebiasin asanelitistproject,this whichencouragedthegreat (action )toillustratethemovement. Huyssencriticises with functionalistarchitectureandabstractexpressionist painting United Statesin1950. At thattime, isconsolidated, lateModernism of totalitarianregimes andthechangeofculturalaxisto testifies thecrisisofhistorical avant-gardes inEuropeaftertherise of modernity, sense. whichevidenceshisrevolutionary Theauthor interpretations as well as avant-gardes as a new stage in the history mass cultureandtheemergence ofPop Art. HeconsidersBürger avant-garde, and postmodernism, modernism his axis beingthe and Difference) (1986), Huyssenstudies the relationship between Modernism, MassCulture, Postmodernism (TheoriesofRepresentation them avant-gardes”.“postmodern Inhisbook After theGreatDivide: authors toretrievethecriticalpotentialofnewavant-gardes, naming Andreas Huyssen, acomparativeliteraturescholar, isoneofthefirst authentic avant-garde’s primordialgestureslesseffective. and 1960, characterizingthemasrepetitivemovements thatmake movements ofnewavant-gardes thatemerged intheyears 1950 them in a single orientation, and also because it disqualifies the the specificityofevery avant-gardemovement, seekingtogroup has beenquestionedby severalscholarsbecauseitdoesnotdiscuss the avant-gardes inthesociopoliticalcontextEurope, inmodern it Although Bürger’s hascontributedtoa newinterpretationof theory ofanewsocialorder”. utopian construction do of itintoaninstrument inthepracticeoflifeand turn “art and marked themomentofbourgeois art’s self-criticism, aimingto For Bürger, avant-garde hasovercome themomentofself-reflection – shock, surprise, circuit. –toquestiontheart chanceandallegory of discussedthecategory artists “work” usingprovocative procedures for political, socialandaesthetictransformations. Theavant-garde radical manifestos, inthefight mobilizingthepeopletoparticipate filmmakers, led by activistwritersandcriticswhogenerallywrote art, andsoughtaclass-actionlawsuit ofartists, musiciansand gardes questionedthecurrentaestheticismofEuropeanbourgeois market in a capitalistsociety. and the art social status of art Avant- movements thathave questionedtheideaofautonomousart, the O ARTE: PORT O ALEGRE, V . 19, N. 33, NO VEMBR O/2012 such as Kaprow’s happenings and Rauschenberg’s to Duchamp’s andScwitters’s Dadaistactions, we usedexamples in a new historical moment. To show how they give new meanings of thefirst avant-gardes andrecontextualizes them, placingthem of historicalavant-gardes; onthecontrary, itretrievesthepotential new avant-garde doesnotarriveasadilutedrepetitionofgestures garde” intoconsiderationandlabeleditasa “degenerate art”. This the oppressionoftotalitarianregimes, whichdidn’t take the “avant- emergence ofanewavant-garde intheyears 1950and1960, after “Who’s Afraid oftheNeo-Avant-Garde?” (1996), Foster considersthe resuming of Dada actions by American Pop artists.Art In his essay strategies usedby thehistoricalavant-garde movements, like the as they appropriateandgivenewmeaningstotheactions neo-avant-garde movements. Foster considersthesemovements interpretation thattakes intoaccounttheinnovative nature of questioning Bürger’s andproposed aconstructive theory history,In thefieldofart Hal Foster wastheonethatbegan of 1960(Huyssen, 1986). critical potentialofneo-avant-garde movements duringtheyears cultureand for amorecomprehensivereadingofcontemporary paradigm,and ofthepostmodern Huyssen’s paved theory theway trends.artistic Marked by the examination of cultural differences of ethnicminoritiesandsocialontheretellingprevious art,created areflectiveandalternative focusedontheaspirations lost thetransgressorpotentialofavant-gardes,postmodernism but ofthe70’sthe postmodernism andthe80’s. According tohim, this also distinguishes the avant-garde”“postmodern of the 60’s from institutions.official cultureandacademicartistic Thescholar of itsemergence intheyears of1960, following thequestioningof the decline of the Western culture, and situates the critical period criticisms topostmodernism, whichinsistonsituatingtheperiodas From CollagetotheMultiple: Onthe Genealogy of Avant-Garde and of avant-gardes, guidedby Walter Benjamin’s ideas. Intheessay “ Foster’s questioningonBürger’s tounravel theory thegenealogy Dietrich Scheunemann, historian, anotherart alsomakes useof andminimalism. Art ofmovementsNorth suchasPopAmerica throughthearticulation justifies the emergence of neo-avant-gardetheory movements in structural, discursive, cognitive andperceptive parameters. Foster’s avant-garde institutions, movements facedartistic discussingtheir conventions,traditional artistic and that the questioning of the neo- points out that the criticism of historical avant-gardes fell upon left, bothguidedbyMarcuse’s Herbert philosophy. United Statesduringtheyears of1960: countercultureandthenew assemblages

Huyssen refutes . Foster time, consideringpreviousquotesfromthecriticMárioPedrosa. ofthe the emergencesensibility inartists ofanewpostmodern opposition between avant-garde andpost-modern, whilerecognizing these avant-gardes project andemphasizesthe inthemodernity regime.of politicalprisonersduringthemilitary Otilia Arantes inserts because itradicallyquestionsrepression, andthepersecution torture Brazilian. Thisone isdifferentfromthe American neo-avant-garde and revealedthedesiretobuildaavant-garde thatisspecifically Brazilian capitalistsociety, actedwithinthelimitsofcomplaints are focusedontheawareness ofthecontradictionswhichpermeated Arantes shows thatthecritics’s proposals discoursesandtheartistic Conceptualism, remarking their critical and political dimensions. The philosopherdiscussesNeoconcretism, theNewObjectivityand from theRio-SãoPaulo axisin1960andthefirsthalfof1970. avant-garde”, movements inwhichtheauthorretellsartistic of thistopicisBeatrizOtíliaFiori Arantes’s essay (1983), “After I thinkthatoneofthemostsignificantcontributionstostudy emergence ofneo-avant-garde inBrazil? But, towhatextent may thesetheoriesbeusedtoexplain the the context ofpostwar American art. American avant-garde astheheiressofEuropeanavant-gardes, in Scheunemann’s isfitto explain theemergence theory ofanew and authorshipofthework ofart, painting. redefiningcontemporary to questiongesturalpainting; Therefore, hediscusses theuniqueness the uniquenessofwork andusesthemechanicalreproduction to the historian, Warhol uses the concept of serialization to question emphasize onesingleimage’s serializationandrepetition. According through theuseofphotography andsilkscreenoncanvas to painting”, whichappropriatesiconsfromtheconsumerismsociety 1950 and1960. Scheunemann’s example is Andy Warhol’s “conceptual experiments ofavant-garde withinthespecificcontext ofthe years of neo-avant-garde, ininsofarasthey reinvent theactionsand “exploding thecontinuumofhistory” toexplain thereappearing and originality. Finally, ScheunemannusesBenjamin’s thoughtson readymade photography and questions the work’s in art uniqueness second stage. Photomontageisaccomplishedby incorporating photomontage by asavant-garde’s Dadaistsandconstructivists Duchamp’s readymades. Thehistorianconsiderstheinvention of Braque’s experiments withcubistcollagesandquestioningsregarding tomakeand thesearchfornewalternatives art, like Picasso’s and challenge questions painting’s mimetic and representative tradition photography and the new techniques of reproducibility. At first, this by facingtechnological advances theartists throughtheinvention of Neo-Avant-Garde” Scheunemann(2005)considersthechallengeposed MARILIA ANDRÉS 1 the , aswell asthecaseof withtradeunionsin Argentine artists and FrenchSituationist artists new realists during the barricades of andpolitics,straight relationshipbetween art aswasthecaseof society. Themostradicalneo-avant-garde manifestationssetthe andlife,that tracedastraightrelationshipbetween art and art I alsoconsiderthecriticalandpoliticalpotentialofneo-avant-garde Objectivity, in1960, totheanthropophagic avant-garde of1920. the example ofnewmeaningsgivenby tropicalismandtheNew configuration. InthecaseofBrazil, tohighlight itisimportant moment, issuesfromanewgeopolitical focusingonart-specific to the proposals of the first avant-gardes within anotherhistoric are severalmovements thatgave newmeaningsandcontexts Situationism, Fluxus, theNeoconcretismandnewObjectivity. These and materialize proposals from Pop Art, new , New Figuration, movements that emergedartistic during the years 1950 and 1970, I will use the term “neo-avant-garde” to designate the experimental in HélioOiticica’s experimental art. Mário Pedrosa (1981, p. sensibility present 205-209) speaks of a post-modern government reformsby Goulart’s government (1962-1964)isreplaced around nationalpopularissuesthataccompaniedthenationalist government.during theBrazilianmilitary At thispoint, thedebate Paulo, RiodeJaneiroandMinasGeraisbetween 1964and1970, Brazil, inSão focusingon theactionsofmilitantcriticsandartists I willmake abriefmappingofneo-avant-garde’s situationin military regime(1964-1970) formation of 3 –Neo-avant towardsBrazilianpainting. thetraditionofmodern artists questionings made by Concretism, Neo-conretism and New Figuration proposals,and ofopeningtocontemporary following theexample of andpost-modern,modern tradition withmodern asapointofrupture I considerBrazilianneo-avant-gardebetween tobeintheboundary in thelatecapitalistsociety. paving theway fortheartists’s incisiveroleonemerging problems and politicsby dilutingtheboundariesbetween thetwo fieldsand are relevant because they show thedirectconnection between art in Belo Horizonte, in 1970, curated by Frederick. These movements the years of1960, culminatedin the politicalactionsofneo-avant-garde, whichoccurredduring 1 Tucuman Arde Tucuman RIBEIR O, Thoughts upon Brazilian art in the years 1960and1970 intheyears Thoughts uponBrazilian art an -garde’s manifestation, bothcarriedoutin1968. InBrazil, artistic cultureofresistance to the activities inBrazil Do Corpo à Terra à Corpo Do and the , amanifestation

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190 ENGLISH REVISTA PORT moved critics, fromRio, owners andartists gallery whoproceeded symbol oftheartists ‘ reactionagainstauthoritarianism. Theshow forfreedomof expression inBrazilandbecamethe the firstcry The show, heldatTeatro de Arena, inRiodeJaneiro, wasconsidered ofresistance. the art who allowed theoccupationofthese “territories offreedom” by universities, theaters, museums–directed by progressive intellectuals by artists, owners atculturalinstitutions–- criticsandgallery The big collective manifestations of new avant-garde were held Carlos Vergara, Antônio DiasandPedro Escosteguy (1966). place at The NeorealistgroupwasformedinRiodeJaneiroitsactionstook de Campos and DamianoGazzella at the (1964).Atrium Gallery avant-garde. Thegroup Janeiro asthebackground of the great collective manifestations of We inSãoPaulo andRiode pointoutgroupsofyoungartists Janeiro andBeloHorizonte ofneo-avant-garde inSãoPaulo,3.1 –Thearticulation Riode of large urbancenters. consideration, intheeveryday life ofart andsoughttheinsertion mass culture, popular culture and technological advances into oftheNewFiguration,of newpoeticswhichtooktheimportance andpolitics,art marked by andreconstruction thedeconstruction design,but alsoBrazilianmodern theconnectionbetween restarting avant-garde putat risk notonly the State’s authoritarian policy, culture of resistanceartistic to authoritarian regime. The new was established, ofanalternative thusresultinginthearticulation neo-avant-garde government’s proposalsandthemilitary actions authoritarianism (1964-1985). Then, aradicalantagonismbetween by thevindicationofdemocraticfreedomsopposedtoState’s Thomaz SoutoCorrea. Stupakoff, critic Pedro Felipe ManoelGismondandwritersCarlos Saldanhaand The groupwasformedby artists Wesley Duke Lee, MariaCecíliaGismondi, Otto Pop-concreto Duke Lee’s exhibition/happening inJohnSebastianBar1963. daily lifethroughprovocative actionsthatculminatedin Wesley Paulo proposedtherenewaloffantasticrootsinordertotransform person’s behavior. The group’s more provocative action was which proposed the displacement of optical research towards the city Also fromSãoPaulo, theneo-realistgroup, formedby ex-concretistas, 2 Galeria G4 Galeria [Pop-concrete Show], by Waldemar Cordeiro, Augusto O ARTE: PORT , joinedby RubensGerchman, Magalhães, Roberto Realismo Mágico Mágico Realismo O ALEGRE, V [magical realism]fromSão . 19, N. 33, NO VEMBR Espetáculo Espetáculo O/2012 2

this seminar, Oiticica positionedthebasicquestionsofnew of experimental, sensory, conceptual andproceduralproposals. In categoriesquestioning of conventional and the establishment artistic fromthepublicthroughradical claimed collectiveparticipation interactionwiththework,not onlyaspectator/participant butalso new object, which referred to ’s Non-Object, proposed sense ofa “genuine searchofanewobjectinBrazilianart”. This avant-garde inregards toforeignavant-garde, whilstgivingitthe discussions oftheseminar, proposingtheindependenceofBrazilian and opentocollectiveexperiences. HélioOiticicawastosynthesizethe inurbanlife conceptual basesofanavant-garde criticallyinserted Escosteguy and Frederico Moraisconverged fortheformulation ofthe garde’s situation, by andthethesessupported HélioOiticica, Pedro Hélio Oiticica’s and Waldemar Cordeiroalsojoinedthisshow. Stillattheexhibition, Antonio Davis, RubensGerchman, Pedro Escosteguy, Wesley Duke Lee opinion 66. European, HelioOiticica,Argentine andBrazilianartists to organize two collectiveexhibitions atMAM/RJ: Opinion65and Ubirajara Ribeiro, SamuelSpiegel andtheNeorealistagroup from RiodeJaneiro. were MaurícioNogueira artists Lima,The participating Sérgio Ferro, Flávio Império, 66 Proposta 65 Proposta Pierre Restany (Schenberg, 1988p. 179-180). and moved towards Europeaninnovative proposals, by supported realism statements, proposedby Popular CultureCentre’s militants, context. TheNewBrazilianRealismovercame theOrthodoxsocialist integrating theseexperiences tothespecificityofBraziliancultural trend’s emergence totheexperiences Realism, ofNewInternational The criticMarioSchemberg, ofthistrend, abigsupporter alliedthe whichallowedartists fornewiconographic andvisualpossibilities. presented itselfinthework ofthenewgenerationBrazilian focused onthequestionsposedby newrealism, atrendthat presidents ofMAM. Theexhibition educational environment, causinganauthoritarianreactionfromthe of artists fromRioandSãoPaulo. of artists Waldemar Cordeiro and Mário Schemberg, with the participation organized inSão Paulo atFAAP, Fundação Armando Alvares Penteado: Following theorganization ofcollectiveshows, two seminarswere the faceofBrazilianavant-garde foreigntrends(Morais, 1985). Zílio–,Oiticica andCarlos whopointedouttheurgency toreshape –Fredericobetween criticsandartists Morais, Pedro Escosteguy, Hélio did nothave thesameimpactfirstonehad, butthedebate 3 seminar, discussions focused on the new Brazilian avant- and Parangolés Proposta 66. Proposta were shown forthefirsttimeinan Theseminarswere coordinatedby Opinião 66 Opinião 3 In Proposta 65 Proposta inthefollowing year , thedebate the exhibition called andcriticsfacedtowardsmovement theorganization ofartists of sensation andconsciousness” (Alvarado, 1978, p. 73). Thecollective posturethat taking arevolutionary “extended toallfieldsofman’s the proposalsfromartists, askingforfreedom ofexpression and Declaration ofBasicPrinciplesthe Avant-Garde, whichlegitimized During thatsameperiod, inRiodeJaneiropublishedthe theartists was closedafterwards. with alltheexhibited beingtaken artwork fromthegallery, which 1966 and 1967, culminating in Nelson Leirner’s exhibition/happening, organized by in severalBraziliancities. InSãoPaulo, variousradicalactionswere Proposta 66 Proposta avant-garde tofacetheformationofBrazilianNewObjectivity. New Brazilian Objetivity. Brazilian New José Resende, Fajardo Carlos andFrederico Nasser, The groupwasformedby Wesley Duke Lee, NelsonLeirner, GeraldodeBarros, Objectivity], whichoccurredatMAM/RJin1967. the document named On these, Oiticiaexplained theideology ofthisnewavant-garde in In thecatalog oftheshow, Oiticica’s formulationswere recorded. of agenuineBrazilianart. neo-avant-garde’s proposalsandbecameamilestoneinthestating fromvariousregions.brought together Brazilianartists Itsummarized In theexhibition, thebiggestimpactproposalwasOiticica’s organization ofcollectivemanifestations, opentopublicparticipation. political and social problems; issues, the emergence of anti-art and the formalist aestheticismforasemanticapproachfocusedonethical, categories; atendencytowards theobject; theabandonmentof neoconcretist inheritance; theovercoming of ’s traditional out thefollowing considerations: willofconcretistand constructive Scheme oftheNew Objectivity]. In this document, Oiticicapoints and art criticism. and art newspaper Rex Time’s release. They questionedthemarket institutions Júlio Medaglia(Favaretto, 1979). 1967, launchedby , Gil, Gilberto Rogério Dupratand proposed by the musical movement Tropicalismo, which emerged in animals againstaTVset. Thework dialogued directlywiththeissues This installationwascreatedwithdirt, stones, plantsandtropical which consistedinaroomthatwasopentopublicparticipation. 5 4 ’s manifestations seminartriggeredaseriesofartistic Grupo Rex Grupo 4 The group made some performances between RiodeJaneiro, MAM, April 6to30, 1967. Esquema Geral da Nova Objetividade Nova da Geral Esquema Nova Objetividade Brasileira Objetividade Nova

at Rex Gallery &Sons,at Rex Gallery together withthe 5 [NewBrazilian Theexhibition Tropicália [General MARILIA ANDRÉS , critics [ actions, divulgingtheDeclarationofprinciplesBrazilianart critics protested publicly against such arbitrary Brazilian art in Brazil crystallized inephemeralactionsofprotest,in Brazilcrystallized called “Guerrilla of1960,At theturn andcriticswhoremained thefightofartists Pierre Restany (Amarante, 1989, p. 182-198). to take placeat exhibition scheduledby criticJorge RomeroBrest, whichwasgoing was intendedtobeheldatMAM/RJ, andcanceledtheBrazilian opening ofBrazil’s representativeexhibition atParis Biennale, which Respectively part ofBrazil’sRespectively part NationalStudentUnion ( Pedro Escosteguy, Ângelo Aquino, Dileny CamposandMariadoCarmoSecco, The exhibition presented works by HélioOiticica, Antônio Dias, RubensGerchman, Brasileiros art community’sart boycott tothe repercussions,Brazil had international promoting the international exhibitions.of art repressionin Theprotestsagainst themilitary creation freedomandof the inviolability claimed theright of artistic (Alvarado,portuguese] 1978, p. 43), whichcondemnedthecensorship, Estudantes, and TheHigherInstituteofBrazilianStudies progress such as UNITES, CPC, ISEB. artists, followed by the closingof several educational institutes of on, therewasonlyterrorandthepersecutionofintellectuals regime.manifestations ofrejectiontowards themilitary From then radical andkept goingonuntilthe60’s, withtheorganization of (Institutional Act No. 5)in 1968, the artists’s performances became With the resurgence of repression established by the AI-5 Week toOiticica’s conceptualproposals. fromthe1922Modern innovative momentsofBrazilianart Art critical reflection onthe morals ofthe avant-garde, resuming the exhibition anda hadacatalog-poster withtestimonialsofartists Frederico MoraisasaBrazilianavant-garde militantcritic. The exhibition hadnationalrepercussionandmarked thepresenceof throwing eggs fromoneofOiticica’s Bolidesatthepublic. The During theinauguration, andcriticsstagedahappening, theartists first dialogue fromRioandBeloHorizonte. between youngartists tothepeoplefromMinasGerais,Janeiro artists establishingthe Alvim. Theshow hadthepurposeofpresentingavant-garde Riode The exhibition wascoordinatedby Frederico MoraisandCelma washeldinBeloHorizonteatUFMG’sin portuguese] DeanOffice. In 1966, theBrazilian Avant-garde exhibition [Vanguarda Brasileira, 7 6 RIBEIR Declaração dos princípios dos críticos de arte brasileiros arte de críticos dos princípios dos Declaração , ISEB). UNE), ThePopular CultureCenter( O, Thoughts upon Brazilian art in the years 1960and1970 intheyears Thoughts uponBrazilian art Instituto Torquato de Tella de Torquato Instituto X Bienal de São de Bienal X 7 The government prevented the Centro Popular de Cultura, de Popular Centro (Instituto Superior de Estudos Estudos de Superior (Instituto inBuenos Aires. União Nacional dos dos Nacional União , ledby critic CPC) , in 6

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192 ENGLISH REVISTA PORT Ninar, up of Luciano Gusmão, Lotus Lobo and Dilton Araújo; From December 12, 1969toFebruary 5, 1970. Contemporary Art, BeloHorizonte). MuseumoftheCityHallBeloHorizonte.Art called the artists’s works. Within thisproposal, Moraisheldanexhibition adopted a provoking, militant posture, in order tointeractwith Morais elaboratedtheNewCriticism, demandingthatthecritics Barrio and Antônio Manoel, among others. In the following year, ofemerging artists,the participation suchasCildoMeireles, Artur at SalãodaBússola, atRio’s Modern Museumin1969,Art with The proposal of “Guerrilla Art” was releasedby Frederick Maurice “unusual” revolution. mannerintheprocessofartistic imposedbyart hegemonic countries, actingina “suddenly” and andcriticstoradicallyopposethemselvestheconventional artists critic balances the situation of the new Brazilian avant-garde, urging Affluent Art: TheBodyistheMotorof Work” (Morais, 1986), the paradigms of urban guerrillas fighting strategies. Inthetext “Against art” by Frederico Morais, sincethey wereinto manifestationsturned I Salão Nacional de Arte Contemporânea de Belo Horizonte Horizonte Belo de Contemporânea Arte de Nacional Salão I Horizonte was However, the most significant event of the new avant-garde in Belo by Madu, Ana Amélia Lopesde Oliveira andJosé Nemer. Alberto Táteis, held duringthe celebrate the inauguration of the of Arts. The event was (1970), coordinated by Frederick MauriceandSamanthaTristan to in Rio, ofthe whichconsistedinacriticalcommentary the neo-avant-garde. Theawardedwere artworks favor oftheconceptual, proposalsof proceduralandinterdisciplinary changes ofrules, in abolishingthetraditionalcategories offinearts andintroducedradical art the basicassumptionsofcontemporary da Pampulha, curatedby MárcioSampaio, instigatedthedebateabout The First Exhibitionin1969, Contemporary Art heldatMuseude Arte Marcio Sampaio. wasannouced,artists ledby militantcriticsFrederico Moraisand University andinthestreets, thedawn ofanewgeneration festivals at the during the years 1960-1970 in the halls and art In BeloHorizonte, ofseveralneo-avant-garde scenery manifestations Simões andGuilherme Vaz (ibid.). exhibition, by previouslyheldinthisgallery CildoMeireles, Thereza 8 by Jarbas Juarez; by JoséRonaldoLima; A Nova Crítica Crítica Nova A O Semana de Arte de Vanguarda Vanguarda de Arte de Semana ARTE: PORT Semana da Inconfidência da Semana [The newcriticism], atPetite Galerie, located Escavações, Escavações, O Territórios ALEGRE, by Dileny Campos, and , elaboratedby theteammade V . 19, N. 33, NO inthemonthof April [avant-garde art week][avant-garde art Conjuntos Visuais e e Visuais Conjuntos (1st SalonofNational Máquinas de de Máquinas VEMBR Agnus Dei Agnus Objetos, Objetos, O/2012 8

José RonaldoLima’s marks stampedwithforbiddenwords, registered by TherezaSimões; with napalm; the colorful grenades detonated by Décio Noviello; the free areasfromrepressionareas; Luiz Alphonsus’s plasticsburned and Luciano Gusmão’s mapping of the Municipal Park, separating There were alsoproposalsofpoliticalconnotation, asDilton Araújo innewsensorialexperiences. invited thepublictoparticipate at Palace of Arts; JoséRonaldoLima’s boxes, tactileolfactory which footprints registered by George Heltattheentrance oftheexhibition workers’s world in the cracks of the urban landscape; the lithographic The moreradicalpoliticalpropositionswere CildoMeireles’s to theculturalrevolution. that scenery’s memory. oncanvases, thusinviting thesepassers-by toreconstruct places inphotographed places to beseenby passers-by asif at appropriating15areaswithinthecity throughphotographs by LucianoGusmão, andFrederico Morais’s own work, whichaimed experiences,being thereflectionandtranspirationofearth elaborated Conceptual andecological were alsoproposed, anexample ofthat andkilledinBrazilianprisons(Morais,who were tortured 2002). towards theState’s actionagainstpoliticalmilitants paramilitary protest against the victims of terror human sacrifice and rejection emblem of death in Brazilian culture and symbolized the artists’s the streamRibeirão Arrudas. Theseboldproposalsreaffirmedthe of bagscontainingmeatandbonesreleasedby Barrio in Artur been propositions for social connotation, such as Dileny Campos’s Hélio Oiticica’s sugardrawings atSerradoCurral. Therehave as well astheseedsplantedby LotusLoboorLeeJaffeand in the park by Eduardo Ângelo. Other had ecological connotation, messing upthedailylifeofcity, like thenewspapersthrown and environmental proposalsandsymbolicrituals. Someaimedat In theseevents, worked theartists withconceptual, political, ecological ran HélioOiticica’s proposal. Dilton Araújo, DécioNoviello, Eduardo Ângelo andLeeJaffe, who CildoMeireles,of artists Barrio,Artur LucianoGusmão, LotusLobo, mountains andinthestreamsofcity, withtheparticipation Corpo à Terra, à Corpo Tiradentes: Totem-Monumento Tiradentes: Subpaisagens Manfredo SouzanettoeTerezinha Soares, andthemanifestation TheresaSimões,artists George Helt, Castaño, Orlando ManoelSerpa, participation], heldinthePalace of Arts, of withtheparticipation burnt animal,burnt and in two moments: theexhibition [sublandscapes] heldattheMunicipalPark, inthestreets, inthe Situação T/T1 Situação Gramática Amarela Gramática , aritualization of thesacrification . Thiswork offeredaglimpseofthe Objeto e Participação Participação e Objeto [T/T1Situation], whichconsisted [Yellow grammar], atribute [object and Do Do showing the diversity of Brazilian artistic cultureatthattime. showing thediversityofBrazilianartistic reflection and mapping of artists’s actions in other Brazilian cities, avant-garde mappingoftheyears 1960-1970, Iintendtowidenthe From theoreticalconsiderationsandfirstneo- thesepreliminary 4 –Conclusion Morais asthe last urban Brazilian avant-garde collective manifestation. for freedomofexpression inBrazil. Theeventwasreevaluatedby Throughout the event, Morais launched a radical manifest, asking Salvador, Brasilia, Cuiaba, CuritibaandPorto Alegre. in this researchthefollowing cities:My intentionistoinsert , Vitória, artistic circuit. artistic Florianópolis, Vitória) andestablishadialogue withinternational circuit inotherBraziliancities( Alegre, Recife, Brasilia, Cuiabá, Brazilian culturecancontributetoenlarge theknowledge ofartistic I believethatabroaderinterpretationofthisoddmoment (inBrett, art community asadvocates ofcontemporary 2005). to be recognizedBarrio deserve by artistic the international Today, Lygia artists Clark, HélioOiticica, CildoMeirelesand Artur visibility. inBrazilandalsoforitsinternational art contemporary fortheformationof important consider thismomenttobevery 9 MARILIA ANDRÉS 9 I HUYSSEN, Andreas. FAVARETTO, Celso. das Letras, 1994. FERREIRA, Glória (Org.). ALVARADO, Daisy Valle MachadoPeccinini de(Coord.). FABRIS, Annateresa. A pesquisaemhistóriadaarte. 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