Anthropophagy in São Paulo's Cold War
Name
artm_a_00031.pdf
Description
Published version
Size
1.03 MB
Format
Adobe PDF
Checksum (MD5)
3ff1ff3879d8836da32c53230fc8aeff
Author(s)
Jones, Caroline A
Date Issued
2013
Journal
ARTMargins
Publisher
MIT Press - Journals
Version
Final published version
Abstract
© 2013 ARTMargins and the Massachusetts Institute of Technology. The first biennial founded outside Venice opened in São Paulo Brazil in 1951, providing a fulcrum between "dependency" and "developmentalism" (to use economic terms). In terms of art history, it presents a useful anomaly in which an international style ("concrete abstraction," a European import) was used simultaneously to eradicate local difference and to declare a cosmopolitan, up-to-date Brasilidade (Brazilianness). More crucially, I argue that the São Paulo Bienal was the precondition for the newly rigorous conceptualism that followed, as Brazilian artists in the late '60s rejected "Concretismo" to craft a new world picture, radically transforming margin and center through the profoundly theoretical practice of antropofagia - cultural cannibalism.
MIT Department
Massachusetts Institute of Technology. Department of Architecture
Terms of Use
Article is made available in accordance with the publisher's policy and may be subject to US copyright law. Please refer to the publisher's site for terms of use.
Persistent DSpace Link
DOI of Published Version
https://doi.org/10.1162/ARTM_A_00031
