书名：Constructing an Avant-Garde: Art in Brazil, 1949-1979 / 建构先锋：巴西艺术 1949-1979
定价：310.0
ISBN：9780262019262
作者：Sérgio B. Martins
版次：1
出版时间：2013-11

内容提要：

书名：Constructing an Avant-Garde: Art in Brazil, 1949–1979 / 建构前卫：巴西艺术，1949–1979
作者：Sérgio Martins
出版社：The MIT Press，2013年
装帧：精装，248页
语种：英文
尺寸：约 17.8*25.4 cm（7 x 10 英寸）
ISBN：978-0-2620-1926-2

简介

本书以全新的视角重新审视了1949年至1979年间巴西战后前卫艺术运动。马丁斯（Sérgio Martins）指出，巴西艺术家在更新现代主义的过程中，其发展路径与欧洲和北美的艺术史叙事截然不同，形成了一种根本性的错位。这种错位既是他们创作的出发点，也赋予了他们独特的创造力。讨论不仅涵盖了广为人知的艺术家和团体，如奥伊蒂西卡（Hélio Oiticica）、克拉克（Lygia Clark）、梅雷莱斯（Cildo Meireles）以及新具象运动（neoconcretism），也包括了在巴西之外较少被了解的艺术家和批评家，如佩德罗萨（Mário Pedrosa）、古拉尔（Ferreira Gullar）、德·卡斯特罗（Amílcar de Castro）等。

马丁斯详细描述了巴西战后前卫艺术中的决定性时刻，包括古拉尔提出现象学路径的《非物理论》；奥伊蒂西卡、建构性与蒙德里安；肖像画、自画像与身份认同；非视觉转向与观念主义的错失相遇；以及单色画、宣言与艺术介入。随着巴西艺术家在1960至1970年代面对国际极简主义和观念主义的崛起，这种“劫持”现代主义的行为变得更加复杂。巴西前卫艺术家不仅重新配置了艺术史，也重新配置了自身的历史，使他们能够从一个独特的、斜视的立场来面对当代的挑战。

How Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil's avant-garde. His discussion covers not only widely renowned artists and groups—including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism—but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman. Martins describes defining episodes in Brazil's postwar avant-garde, discussing crucial critical texts, including Gullar's “Theory of the Non-Object;” Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique—and oblique—standpoint.