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dc.contributor.authorJones, Caroline A
dc.date.accessioned2021-10-27T20:05:55Z
dc.date.available2021-10-27T20:05:55Z
dc.date.issued2013
dc.identifier.urihttps://hdl.handle.net/1721.1/134638
dc.description.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.
dc.language.isoen
dc.publisherMIT Press - Journals
dc.relation.isversionof10.1162/ARTM_A_00031
dc.rightsArticle 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.
dc.sourceMIT Press
dc.titleAnthropophagy in São Paulo's Cold War
dc.typeArticle
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture
dc.relation.journalARTMargins
dc.eprint.versionFinal published version
dc.type.urihttp://purl.org/eprint/type/JournalArticle
eprint.statushttp://purl.org/eprint/status/PeerReviewed
dc.date.updated2019-08-07T12:48:19Z
dspace.orderedauthorsJones, CA
dspace.date.submission2019-08-07T12:48:20Z
mit.journal.volume2
mit.journal.issue1
mit.metadata.statusAuthority Work and Publication Information Needed


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