José Geraldo Vieira makes a distinction between figurative and abstract trends in art, wondering if this is an issue of criticism or perception. He hypothesizes that the saturation of aesthetic models—along with a simultaneity of approaches—is the reason for the frequent transformations. Vieira identifies both orientations in the following trends: “analogical figuration” and “self-figuration,” which correspond to the figurative and abstract art that are found in New Figuration as well as in the new trends (nt). Between dichotomy and redundancy, he calls into question whether the visual arts are one eternal phenomenon or different phenomena that alternate over time. He opts for the first hypothesis, believing with all his heart in the regenerative capacity of figurative art. By way of comparison, he points out the elitist, art-for-art’s sake attitude of both Abstract and Concrete art. He supports the idea of abandoning theory, an approach adopted by the artists of the new trends (nt), in favor a closer approach to daily life.

This long historical, theoretical essay by the art critic José Geraldo Vieira published in the journal HABITAT in 1964seeks to identify the predominant, most stimulating trend in contemporary art. Without defining his position per se, he comes out in favor of the new trends (nt) derived from Concrete art. Quoted by Vieira in the text, Waldemar Cordeiro, the creator of Concrete art in Brazil, would write his response as an “open letter” in a subsequent issue of HABITAT. Cordeiro acknowledges the charge of “elitism” raised by Vieira, but remains convinced that contemporary art requires an objective language, which presents things (or semantic units) that have nothing to do with representation. “Semantic Concrete art” is the name he gives it. [See in ICAA digital archive “Novas tendências e nova figuração” (doc. no. 1110840)].  

Texts by José Geraldo Vieira appeared in the journal Habitat and in the newspaper Folha de S. Paulo, and Vieira came to be a member of the São Paulo Biennial Art Board.

[See the following other texts by this writer in the ICAA digital archive: “A arte do fantástico” (doc. no. 1111415); “A arte ‘ingênua’” (doc. no. 1110356); “Bienal, passarela de gênios” (doc. no. 1110907); “O contingente brasileiro na 3a Bienal de arte de São Paulo: preámbulo necessário” (doc. no. 1110833); “Exposição Nacional de Arte Concreta” (doc. no. 1087109); “Genaro de Carvalho” (doc. no. 1110697); “IV Bienal do Museu de Arte Moderna” (doc. no. 1232311); “Livio Abramo e a macumba fluminense” (doc. no. 1110609); “Mário Cravo” (doc. no. 1110465); “Materiais insólitos, desde o dadaísmo até a pop-art” (doc. no. 1110837); and “Nas artes plásticas” (doc. no. 1110853)].