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[En lo que va del siglo, la pintura argentina...]
1962With the local context in mind, Padeletti writes about the criteria of originality and the problem of aesthetic contemplation. In addition, the critic points out the development of Argentinean collections, in particular those of the city of Rosario: [...]ICAA Record ID: 762895 -
[Letter] 1974 Septiembre 13 [Minturno] [to] Libero [Badii]
1974Aldo Paparella writes to Libero Badii about artistic practice in contemporary society, and laying out certain opinions about invention, freedom, and the marketplace [...]ICAA Record ID: 754717 -
[Letter] 1974 Septiembre 4, [Minturno] [to] Libero Badii
1974Aldo Paparella writes to Libero Badii about his production, particularly to highlight drawing. Paparella states that Badii's world is a big, "macabre" illustration. He writes his negative comments about contemporary society, particularly consumerism [...]ICAA Record ID: 754694 -
[Letter] 1977 Enero 22, París [to] León [Ferrari]
1977Eduardo Jonquieres writes from France about the political situation in Argentina and how it affects his friends. He discusses the projects and exhibitions that he’s working on, and gives Ferrari the names of some personal contacts in Europe. There [...]ICAA Record ID: 748816 -
[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 -
A aridez dos anos 80
1992This article by Mônica Junqueira de Camargo analyzes the creation, circulation and consumption of photography in Brazil, especially in the centers (Rio de Janeiro and São Paulo). Her analysis shows the disenchantment that emerges in the photography [...]ICAA Record ID: 1110927 -
A Bienal de cá para lá
1991This document consists of a series of statements on the XXI São Paulo Biennial. Professor Walter Zanini, curator of the sixteenth and seventeenth biennials, held in 1981 and 1983 respectively, condemns a modality whereby artists are selected to [...]ICAA Record ID: 1111345 -
A gravura na cooperativa
1980This article, essentially the minutes of a meeting of the Cooperativa de Artistas Plásticos de São Paulo, was published in ABC Color, the organization’s newspaper. The article reports on the meeting of Cooperative members on July 2, 1980, at [...]ICAA Record ID: 1110659 -
Amanhã hoje : Casa triângulo de 1988 a 1995
1995This is the catalogue for the exhibition commemorating the fifteenth anniversary of the Casa Triângulo. Organized by Maria Izabel Branco Ribeiro, the exhibition presented the history of the gallery during that time, introducing those young artists [...]ICAA Record ID: 1111344 -
Análise do circuito
1975In this text, Ronaldo Brito analyzes the state of the art circuit and market in Brazil in the mid-seventies. He observes that the consolidation of the art market is due less to a maturation of art criticism than to conservative maneuvering. He states [...]ICAA Record ID: 1111095 -
Antonio Berni : el pensamiento y la trascendencia
1978This document contains a description of the attendees at the opening of Antonio Berni’s show at the Galería Imagen (Buenos Aires, 1972) and an interview with the artist about the Latin American art scene. In his answers, Berni criticizes [...]ICAA Record ID: 775908 -
Aporte de Julio Le Parc para el diálogo sobre : “El artista en el contexto social actual”
1978This text by Julio Le Parc addresses the artist’s problems within the social context, posing a series of questions about the myths that continue to surround and affect a work of art. In general terms, it questions those who maintain the idea of [...]ICAA Record ID: 774022 -
Arco das Rosas : marchand como curador
2001This text by Celso Fioravante was featured in the catalogue to the exhibition Arco das Rosas: o marchand como curador, curated by José Roberto Aguilar, and held at the Casa das Rosas in São Paulo in 2001. In it, Celso Fioravante analyzes the role [...]ICAA Record ID: 1111315 -
Arte : de Domus a Bonino : la carrera de un marchand
1964The journalistic note explains the career of art dealer Alfredo Bonino from his beginnings to his international expansion. It points out how his gallery marketed artists and made them known in different venues. In particular, Bonino is recognized for [...]ICAA Record ID: 766378 -
Arte brasileira viaja em busca de mercado
1996In this article, the journalist Celso Fioravante explains that the Brazilian gallery Camargo Vilaça was asked to participate in the contemporary art fair in Madrid (ARCO, 1996). Fioravante reports that this involvement in the Spanish event was part [...]ICAA Record ID: 1111316 -
Arte brasileira, anos 70 : o fim da vanguarda?
1979Critic Frederico Morais discusses the transformations that took place in the Brazilian art world in the seventies, assessing the art market, art institutions, as well as important episodes that occurred during that period. Regarding artistic [...]ICAA Record ID: 1110939 -
Arte correo : Una nueva etapa en el proceso revolucionario de la creación
1976This document is an article by Argentinean communication theorist Edgardo Antonio Vigo, published in the second issue of the magazine Buzón de Arte/Arte de Buzón (Venezuela, 1976). After offering some thoughts on the art market in relation to [...]ICAA Record ID: 1102031 -
Arte marginal
1982In this article, the critic Sheila Leirner seeks to differentiate between marginal art, marginalized art, and art that is understood as marginalized by the artist who created it. In her opinion, there is a tendency to regard marginal art and artists [...]ICAA Record ID: 1111364 -
As exposições internacionais de arte brasileira: discursos, práticas e interesses em jogo
2004In this text, Ana Letícia Fialho analyzes the place of Brazilian art on the international art scene starting in the nineties. She argues that the “politically correct” discourse adopted by curators and other players on the [...]ICAA Record ID: 1111313 -
Até onde vai a liberdade de criar?
1979In view of the contemporary events related to raids, censorship, and repression, this report collected testimonials from several artists regarding freedom of expression during the Brazilian military regime (1964–85). The artists consulted included [...]ICAA Record ID: 1111076 -
Buenos Aires is the place for art bargains
1961Kenneth Kemble wrote about the city’s art market in Buenos Aires, noting its special features; an important aspect for the critic and Informalist artist, given that he believed the market was a sanctionizing mechanism. In addition, Kemble bears [...]ICAA Record ID: 741035 -
Catorce preguntas a Diego Rivera al regreso de la U.R.S.S.
1956The Argentine art critic, Raquel Tibol, asked Diego Rivera 14 questions aimed at identifying his different impressions of the Soviet Union [today, in 1956,] as compared to 1927. The questions were focused on new art, the art market, and the disputes [...]ICAA Record ID: 735494 -
Dance a noite inteira mas dance direito
1992In this text, Milton Machado discusses the problematic status of art in Brazil and its equally problematic and complex systematization. He addresses how Brazilian art has been received abroad, clarifying that it is not a question of exporting [...]ICAA Record ID: 1110945 -
Debate : as instituições culturais
1985This document presents a debate promoted by the journal Módulo about the crisis in the cultural institutions of Rio de Janeiro. It took place just one decade after this city was replaced as the capital of Brazil. First, the debate addresses both the [...]ICAA Record ID: 1110949 -
Eduardo Sued : uma obra para a inteligência do olhar
1977In this text, Ronaldo Brito discusses artist Eduardo Sued, addressing his professional consciousness as well as his unique perception of art. Brito asserts that the power of Sued’s painting “lies beyond technical tricks and the interplay [...]ICAA Record ID: 1111077 -
El Machetazo
1976In this text, Carlos Cortez comments on the need for a movement to liberate art from the market, private collections, and those who see the consumption of art as a means of separating themselves from the lower classes. He contends that too often art [...]ICAA Record ID: 801984 -
En la cultura : Ruiz Durand responde a la Casa de la Cultura
1970The graphic designer Jesús Ruiz Durand replies to the five questions asked in the survey conducted by the Casa de la Cultura del Perú. The questions were about the attendance of the public in galleries, how to communicate with other viewers (such [...]ICAA Record ID: 1141409 -
Entrevista: Fernando Millan
1988The journalist and curator Lisette Lagnado interviews the gallery owner Fernando Millan, who was also the director of the MASP (Museu de Arte Moderna de São Paulo) in the 1940s. According to Millan, the secret of the museum’s success as an art [...]ICAA Record ID: 1111293 -
Entrevista: Thomas Cohn
1993This interview with art dealer Thomas Cohn took place on the occasion of the fifth anniversary celebration of the opening of his gallery in Rio de Janeiro. The background of those first five years is the pictorial axiology of the Geração 80, [...]ICAA Record ID: 1111322 -
Exorcizando o "Exoticado"
1996Artist Milton Machado discusses the response abroad, specifically in England, to the group show Continuum Brazilian Art 1960s–1990s, held in Essex in 1995. Machado comments on the appeal of a certain “exoticism” attributed to [...]ICAA Record ID: 1110990 -
Galeria Luisa Strina: 20 anos = Luisa Strina Gallery: 20 years
1994Agnaldo Farias wrote the text presenting the exhibition Galeria Luisa Strina: 20 anos de arte brasileira, held at the Museu de Arte de São Paulo (MASP) in 1994. According to Farias, the show of artists still active who had previously exhibited work [...]ICAA Record ID: 1111036 -
Gosto de arte. É para ela que trabalho
2005As this interview by Rodrigo Naves with Raquel Arnaud explains, Arnaud first got involved with the Brazilian art scene at the Museu de Arte de São Paulo (MASP) between 1968 and 1971, under the guidance of the museum’s founder and director, Pietro [...]ICAA Record ID: 1111218 -
Inés Amor autorretrato de una galería de arte
1956The Argentine critic Raquel Tibol interviews the director of the Galería de Arte Mexicano [GAM, Gallery of Mexican Art] Inés Amor, and they discuss the early days of the gallery, which opened twenty-one years earlier. The interview highlights the [...]ICAA Record ID: 786445 -
Introdução
1989This is the introduction to a book that analyzes the formation of the arts system in Brazil from the late nineteenth century until the 1980s. In principle it discusses the development of the Brazilian art world from the country’s independence [...]ICAA Record ID: 1111400 -
Introdução : resistir ou libertar?
1979In this text, Frederico de Morais emphasizes the importance—and to a certain extent the impotence—of a greater union among Latin American countries. In the beginning of the passage, he states that Brazil was no longer able to ignore the [...]ICAA Record ID: 1061858 -
Introduction
2001In this introduction to the catalogue for the (2001) exhibition Côte à Côte: art contemporain du Brésil [Side by Side: Contemporary Art in Brazil], Edemar Cid Ferreira states his conviction that art is a key product for commercial trade between [...]ICAA Record ID: 1111215 -
La guerra ontológica contra el mercado del arte: un acto de liberación
2002Puerto Rican artist Elizam Escobar believes that art has become a form of property that is mostly enjoyed for its financial value. In his opinion, the true artist must confront the art market and develop his own alternatives, values, and economic [...]ICAA Record ID: 1051166 -
Looking at dishcloths : critic B. J. finds there´s more to this art business than mere paint when he goes-
1960This article is an ironic commentary written by James Barry that negatively refers to the peculiar nature of the works exhibited at Galería Lirolay. Barry focuses on both the assortment of materials used by Kenneth Kemble and the prizes reached by [...]ICAA Record ID: 741580 -
Los años ochenta : panorama de una década
1990This text is an essay by the art historian Mariana Figarella published in the book Los Ochenta. Panorama de las artes visuales en Venezuela (Caracas: Galería de Arte Nacional, n.d. [1990]). Divided into seven sections, the essay begins with a [...]ICAA Record ID: 1051877 -
Malasartes, um depoimento pessoal
1983In this statement, Ronaldo Brito takes the opportunity to clarify that the journal he cofounded, Malasartes, marked a moment in the Brazilian art world where there were different meanings for the various cultural participants. In his opinion, the [...]ICAA Record ID: 1111305 -
Manifesto
1976The manifesto written by members of the Nervo Óptico group is critical of matters such as submitting artistic work to commercial pressure. The text, which was signed in Porto Alegre (Rio Grande do Sul), warns that the “market’s demands oblige [...]ICAA Record ID: 1110690 -
Manifesto
1976The text that accompanies this manifesto—that is critical of the Salão de Arte Agora I—describes the Brazilian art market mindset and the resources at its disposal. The manifesto challenges the role of the critic who submits to the prevailing [...]ICAA Record ID: 1111318 -
Marcatonio Vilaça; Senhor do Engenho
2002This book is about the works of art assembled by the collector and gallery owner Marcantonio Vilaça, an important promoter of contemporary Brazilian art in the international market in the 1990s. The book includes essays by Paulo Herkenhoff, Angé [...]ICAA Record ID: 1111319 -
Mercado de arte
1986Roberto S. Figueiredo argues that a stable currency created by the “Plano Cruzado” (a set of economic measures), together with the “Ley Sarney” (the law named for the Brazilian president at the time), would strengthen the art market and [...]ICAA Record ID: 1111314 -
Mercados globalizados e cultura: cosmopolitismo pós-moderno
2002The journalist Angela Prysthon clearly differentiates modern from postmodern cosmopolitanism. In the modern form, the center/periphery dialectic prevails, and there are tensions between traditional reality and internationalist aspirations; the [...]ICAA Record ID: 1111335 -
O boom, o pós-boom e o dis-boom
1976This article, jointly written by Carlos Zílio, José Rezende, Ronaldo Brito, and Waltércio Caldas Jr., discusses Brazilian art in the mid-1970s and examines its connection to the local market, a relationship that affected both the circulation and [...]ICAA Record ID: 1110451 -
Ponencia del pintor Antonio Berni para el Encuentro Iberoamericano de críticos y artistas plásticos, realizado en junio de 1978 en Caracas, Venezuela
1978This is the text of Antonio Berni’s lecture to the gathering on the artistic reality in Latin America, the media, and fashions imposed on art. He also underscores the relationship between art from the countries of the center and art from Latin [...]ICAA Record ID: 776921 -
Produção/canais/o tempo como desafio
1981Aracy Amaral addresses the unquestionable mismatch between forms of artistic expression and their reception and promotion. She is aware that the lack of proper education for artists leads to the redundancy of “experimental” art already created in [...]ICAA Record ID: 1111220 -
Proposiciones de la mesa de trabajo No 2, tema "Critica, teoría e investigación de las artes plásticas Iberoamericanas"; para ser presentadas a consideración de la sesión plenaria del Primer Encuentro Iberoamericano de críticos y artistas plásticos
1978This document summarizes the proposals submitted by the participants at the Primer Encuentro Iberoamericano de Críticos de Arte y Artistas Plásticos who were sitting at work table number two. Referring to the subject “Criticism, Theory, and [...]ICAA Record ID: 850368 -
Quarentona polêmica
1989This newspaper report highlights the problems, controversy, and expectations that surrounded the curatorial proposal of the twentieth Bienal Internacional de São Paulo of 1989. Additionally, it included comments made by three renowned art critics, a [...]ICAA Record ID: 1111311
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