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¿Arquitectura emocional?
1960In 1952, Daniel Mont invited Mathias Goeritz to construct “whatever he wanted.” Given such freedom, the sculptor developed the idea of Arquitectura Emocional [Emotional Architecture]: a structure that would contain the arts with the purpose of [...]ICAA Record ID: 741755 -
¿Exposición de arte español contemporáneo? : un manifiesto de artistas argentinos
1947In response to the absence of artists, such as Pablo Picasso and Juan Gris at the Contemporary Spanish Art Exhibition shown at the Museo Nacional de Bellas Artes in December 1947, the Argentinian artists expressed their disagreement by signing a [...]ICAA Record ID: 730388 -
"On Ice" : Amsterdam Fev. 78
1978The eleventh issue of Nervo Óptico shows the sequential photographic record of a performance presented by Flávio Pons, Cláudio Goulart and Vera Chaves Barcellos in Amsterdam in February 1978. Entitled On Ice, the event consisted of a gradual [...]ICAA Record ID: 1110923 -
"Pau-Brasil", marca de fábrica
1992Oswald de Andrade explains that the term Pau-Brasil [Brazil Tree, which yielded the wood that was exploited for export and gave the country its name] that he used in his 1924 manifesto was intended as a “slogan,” an invention with which [...]ICAA Record ID: 784867 -
"Sociedade Anônima" : relatos urbanos
1978This tenth issue of Nervo Óptico, still on an atypical bimonthly schedule, is double the usual size (32cm x 45cm) and folded in the middle. Its cover has the title “Urban Stories: Sociedade Anónima”. In addition, it bears this notice: “Any [...]ICAA Record ID: 1110922 -
[Aconteceu dia 13, como estava previsto no calendário...]
1977This is the fourth issue of the publication Nervo Óptico. This issue publishes “fake news” signed by the artist Carlos Pasquetti. Looking like news in a community newspaper, a photograph covers the entire editorial space, with the headline: “ [...]ICAA Record ID: 1110916 -
[Au moment où le general GEISEL...]
1976The signatories of this manifesto—a statement of solidarity with the struggle of the Brazilian people defending freedom of expression in all areas—are opposed to the dictatorship’s practice of using art as a symbol of prestige for the military [...]ICAA Record ID: 1111288 -
[Durante años, varias generaciones de uruguayos...]
1992In this leaflet Nelbia Romero expresses her goal of recognizing the identity and ethnicity of the indigenous race that once lived on the land that is now Uruguay. That race was, in fact, exterminated during the eighteenth and nineteenth centuries. [...]ICAA Record ID: 1238885 -
[Em manifestaçao realizada em dezembro último...]
1977This is the first issue of the Brazilian journal Nervo Óptico (April 1977). A seven-line text/statement (all the text in that publication) sets forth the manifesto written by the N.O. group in December 1976, which assumed a “critical stance [...]ICAA Record ID: 1110913 -
[Estoy harto]
1960Mathias Goeritz states that he is fed up with logic and reason; with functionalism, decoration, and individualism; with the fashion of the moment, with vanity, ambition and egocentrism; with the -isms and -ists, both figuration and abstraction. He is [...]ICAA Record ID: 825113 -
[MADÍ ha inventado el marco recortado e irregular...]
1946This is the Manifesto in which the Madí group claims to have invented the irregular, cut-out frame; painting and sculpture that incorporate articulated movement; and a form of artistic expression that is both plural and playful. The group also [...]ICAA Record ID: 731625 -
[Manifiesto Grupo Brasileño Maldoror]
1967The magazine Los Huevos del Plata founded in Montevideo by Clemente Padín, published the manifesto of the Brazilian group Maldoror that politically identified itself with revolutionary and antimilitaristic principles that were plainly active during [...]ICAA Record ID: 1243177 -
[Obra fotográfica de Telmo Lanes sem título]
1977The fifth issue of the journal Nervo Óptico presents photographic work by Telmo Lanes (with neither title nor text). The image of an eye is shown in three sets of five photographs laid out in a circular composition. The artist’s own eye follows [...]ICAA Record ID: 1110917 -
[Pressupondo a necessidade do público]
1977This eighth issue of Nervo Óptico begins with an epigraph by the Brazilian art critic Mário Pedrosa, and a statement said to be collectively written by the Grupo N.O. This issue presents works exhibited in São Paulo, at the Galeria Eucatexpo. [...]ICAA Record ID: 1110920 -
[projetos de recuperaçao da paisagem interna...]
1977This is the third issue of the publication Nervo Óptico. It shows works by Carlos Asp under the general title of “Projects to Recover the Internal Landscape: Self-Portrait on Live Elements.” One of these involves an installation with sketches of [...]ICAA Record ID: 1110915 -
[Somos mutantes, es decir, vividos...]
1966In 1965, the original manifesto of the magazine Los Huevos del Plata was an avant-garde platform advocating against Uruguayan cultural dominance by the so-called Generación del ’45, a group of writers who exerted and promoted their strong [...]ICAA Record ID: 1243157 -
[Yo pertenezco a un pueblo real, maravilloso…]
1990This text, written on a “fan,” carries a message of protest from the visual artist Juan Loyola to the then president of Venezuela, Jaime Lusinchi (1984–89). Loyola expresses the revulsion he feels after the ex-minister Vinicio Carrera managed [...]ICAA Record ID: 1160337 -
1er Manifiesto Treintatrentista
1928The first treinta-treintista manifesto is aimed against academics, public officials, thieves of public offices, and in general, all kinds of layabouts and rascals who pretend to be intellectuals. Using iconoclastic language, the ¡30-30! Group [...]ICAA Record ID: 779430 -
2° Manifiesto Treintatrentista
1928In the second treinta-treintista manifesto, the group declares the reason for its dispute. It states that the struggle between independent painters and the academics intensified when the presidency changed hands, since certain conservative teachers [...]ICAA Record ID: 779440 -
3er. Manifiesto Treintatrentista
1928The third treinta-treintista manifesto is a flyer written in opposition to the Escuela Nacional de Bellas Artes, its instruction methods, and the works produced at the school. Subdivided into eight points, the group’s statement describes the basic [...]ICAA Record ID: 779450 -
4° Manifiesto treintatrentista
1928This manifesto from the Treinta-treintistas [¡30-30! mouvement] discusses the incorporation of new elements and announces the group’s purging and expulsion of old members, either for being neo-academics or for attempting to eliminate the [...]ICAA Record ID: 779471 -
5° Manifiesto treintatrentista : Contra los académicos : los covachuelistas : los salteadores de puestos públicos : En general contra toda clase de sabandijas y zánganos intelectualoides
1928In this manifesto, the ¡30-30! collective of painters announced that its struggle against academism was once again alive and thriving. The reason for this was that the president’s office of the Escuela de Bellas Artes [School of Fine Arts] [...]ICAA Record ID: 786596 -
A "descida" antropophaga
1928This document claims that one of the fundamental tenets of the so-called Movimento Antropófago is a return to a “natural state” (understood as a kind of “beauty with natural features” that is ugly, rough, barbaric, and [...]ICAA Record ID: 784397 -
A natureza reposta em arte
1980In this essay about Frans Krajcberg—the Polish-born artist who lives in Brazil—the critic Roberto Pontual notes that an essential element in the artist’s work is the connection he makes between nature and art. Pontual, who wrote this essay on [...]ICAA Record ID: 1111359 -
A propósito de la cultura mermelada
1966Brazenly, this manifesto categorically rejects the official forms of art and its practices in the city of Rosario, Argentina. It also stresses the marked unity and mutual understanding among the Grupo de Arte de Vanguardia when the group‘s [...]ICAA Record ID: 753432 -
A respeito do sorriso
1977The seventh issue of the journal Nervo Óptico showed the photographic work of Vera Chaves Barcellos, with text at the bottom of the page limited to “Regarding the Smile,” consisting of 15 photos arranged in five sets of three. Each photo has a [...]ICAA Record ID: 1110919 -
Adansônia
1977This is the second issue of the publication Nervo Óptico. Like all issues of this publication except the first, there is neither an epigraph nor text; the name of the artist and the work are stated at the bottom of the page. This work is a series of [...]ICAA Record ID: 1110914 -
Al margen del manifiesto del Sindicato de Pintores y Escultores
1924This document analyzes the national repercussions that the Sindicato de Obreros Técnicos, Pintores y Escultores [SOTPE, Union of Technical Workers, Painters and Sculptors] had on an art scene that was then dominated by individualism. Siqueiros [...]ICAA Record ID: 763287 -
Ante el manifiesto "maximal" : al artista Rafael Rivera García
1969Artist René Trujillo Betancourt refutes all the controversial assertions that Puerto Rican painter Rafael Rivera García puts forth in his “Manifiesto Maximal.” In response to iconoclastic statements like “painting must destroy everything [...]ICAA Record ID: 1060963 -
Asalto a la conferencia de Romero Brest
1968This is one of the key documents bringing to the fore the increasingly political radicalization of the late 1960s Argentinean avant-garde artists, as was demonstrated dramatically by a number of groups in a crucial year: 1968. The document is written [...]ICAA Record ID: 752318 -
Assez de mystifications
1963Under the title “Basta de mistificaciones” [Enough with the mystifications] the Groupe de Recherche d’Art Visuel (GRAV) [Visual Arts Research Group] signed a manifesto that would become the basis of the present-day relationship between [...]ICAA Record ID: 773146 -
Aviso : é a guerra
1966The manifesto that launched Rex Gallery & Sons in the city of São Paulo addresses in passing issues facing the visual arts in Brazil such as the paucity of galleries that support the production of artists, the lack of specialized art criticism, [...]ICAA Record ID: 1111032 -
Brasil (es)/Brazil(s)
1997In his essay, Paulo Herkenhoff seeks to portray Brazil as though it were one country and several countries at the same time, presenting its art as though it were both a singular and a multiple phenomenon. The critic thinks of Brazil as just a point [...]ICAA Record ID: 1075090 -
Ciclo de Arte Experimental : Rosario/1968
1968For their first presentation in the Ciclo de Arte Experimental [Experimental Practices of Art Series], this group of artists in Rosario, Argentina, printed a new flier that they all signed. The text outlined the premises and claims upon which the [...]ICAA Record ID: 753838 -
Con Safo
1970The brochure begins with a part dictionary, part humorous definition of the words “Con Safo,” which is followed by an anonymous short essay that functions as a manifesto for the Con Safo artist collective. In it, the group outlines the [...]ICAA Record ID: 849419 -
Contestando a Torres García
1934In his famous “Manifiesto 1,” Joaquín Torres García repudiates the article published in the Confederación de Trabajadores Intelectuales del Uruguay’s journal Movimiento. Torres García’s text, in turn, occasioned “Contestando a Torres [...]ICAA Record ID: 1208175 -
De cómo nuevamente se pretende dar oxígeno a una pintura que hace tiempo ha muerto
1967This manifesto implies a new rejection of the sanctioned art circuit in the city of Rosario, Argentina. The text repeats the same messages expressed in the group’s first manifesto (“Ante la cultura mermelada [Concerning the Marmalade Culture [...]ICAA Record ID: 753450 -
Declaração de princípios básicos da vanguarda
1967This manifesto—whose proponents were headed by the visual artist Antonio Dias—is essentially a statement of the principles that were adopted by a group of Brazilian avant-garde artists; these principles were inspired by the spirit of the 1960s [...]ICAA Record ID: 1110371 -
Declaração dos artistas de São Paulo sobre a II Bienal
1953A declaration written in manifesto format, in this text, artists and critics from São Paulo suggest a number of rules for the composition of the jury to select works for the II São Paulo Biennial (1953). The signers of the document demand a more [...]ICAA Record ID: 1110825 -
Declaração Poética para "Opinião 66"
1966This document is the catalogue for the exhibition Opinião 66, organized by Cérés Franco. It includes brief statements by participating artists, among them Lygia Clark who proposes “the precarious” as an existential concept. Hélio Oiticica [...]ICAA Record ID: 1110375 -
Destructivism : a manifesto
1988In this manifesto, Rafael Montañez Ortiz, who was born in the United States and is of Puerto Rican descent, discusses the concept of destruction as a new mode of creating art. He validates employing “destruction art” as an appropriate [...]ICAA Record ID: 796655 -
Dos aspectos de una obra transformable-1952
1967ICAA Record ID: 1157287 -
Duas exposições
1952Critique by Sérgio Milliet of the manifesto recently released by grupo “ruptura” (1952) during the group’s inaugural show of geometric constructive art at the Museu de Arte Moderna de São Paulo in December of that same year. Despite praising [...]ICAA Record ID: 1085432 -
El ambiente maximal
1969The thesis developed by Puerto Rican artist Rafael Rivera García in his work entitled Ambiente Maximal entails a representation of the “continuity of a total perceptual experience in which the composition of the planes destroys the basic initial [...]ICAA Record ID: 1060920 -
El artista latinoamericano en relación al encuentro de dos mundos
1991This text is the manifesto of Latin American art issued by the Sindicato Uruguayo de Artistas Plásticos (SUAP) in 1991, after the Primer Congreso de Arte Hispanoamericano held in La Paz, Bolivia. It addresses issues facing the region as a whole, [...]ICAA Record ID: 1236260 -
Expansionismo : manifiesto 1
1967This is the first expansionist manifesto signed by a group of Venezuelan artists: the painter and sculptor Omar Carreño, the painter Andrés Guzmán, the sculptor Rubén Márquez, and the painter Alirio Oramas. The text of the manifesto calls for a [...]ICAA Record ID: 1157270 -
Expansionismo: Manifiesto 2
1967Only three members of the group were involved in the publication of the second expansionist manifesto: Omar Carreño and Rubén Márquez, both of whom were painters and sculptors, and the graphic designer Álvaro Sotillo. The text of the manifesto [...]ICAA Record ID: 1157254 -
Figuras y aspectos de la vida mundial : El Segundo manifiesto del suprarrealismo (1)
1930According to José Carlos Mariátegui, Breton (in his second manifesto) “prosecuted” all the writers and artists who, having initially embraced surrealism, then renounced it. Though he mentions the attacks on Pierre Naville, he claims that the [...]ICAA Record ID: 1293556 -
Frans Krajcberg
1992The exhibition of work by Frans Krajcberg at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) in 1992 had the desired effect due to the RIO 92 conference (Conferência das Nações Unidas sobre Meio Ambiente e Desenvolvimento). [...]ICAA Record ID: 1111379 -
Hachepiencia
1966This essay is on “Hachepiencia,” the manifesto produced by the Uruguayan group Los hachepientos, which was formed by Clemente Padín, Héctor Paz, and Juan José Linares. The principal objectives of the group were outlined in the manifesto [...]ICAA Record ID: 1243133
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