Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10362/116437 |
Resumo: | In the past few years, due to the remarkable development of art biennials around the globe and their public popularity, different research projects have drawn attention to their history and how they have impacted on the production and reception of artworks in various local and regional scenes. Focusing on two texts, written within one year of each other, by Mário Pedrosa and Pierre Restany, important cultural agents of the time, I shall address the impact of some of these shows in the 1960s, especially the Venice and the São Paulo Biennials. Moreover, I intend to assess their hierarchical position on the international art scene at the time, asking one main question: since its inception, the São Paulo Biennial has adopted the Venice model, but at what costs? |
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Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960sBienais artísticasDécada de 1960Mário pedrosaPierre restanyArt biennials1960sIn the past few years, due to the remarkable development of art biennials around the globe and their public popularity, different research projects have drawn attention to their history and how they have impacted on the production and reception of artworks in various local and regional scenes. Focusing on two texts, written within one year of each other, by Mário Pedrosa and Pierre Restany, important cultural agents of the time, I shall address the impact of some of these shows in the 1960s, especially the Venice and the São Paulo Biennials. Moreover, I intend to assess their hierarchical position on the international art scene at the time, asking one main question: since its inception, the São Paulo Biennial has adopted the Venice model, but at what costs?Nos últimos anos, devido à notável expansão e popularidade das bienais de arte em todo o mundo, diferentes projetos de investigação têm vindo a debruçar-se sobre a sua história e impacto na produção e recepção de obras de arte, em contextos locais e regionais. Tendo como base dois textos escritos com um ano de diferença, um da autoria de Mário Pedrosa e outro de Pierre Restany, dois dos mais importantes agentes culturais da década de 1960, será analisado o impacto das bienais neste período, especialmente das de Veneza e de São Paulo. Para além disso, este artigo analisa a posição hierárquica destes dois certames, a partir de uma pergunta central: desde a sua criação, a Bienal de São Paulo adotou o modelo de Veneza – mas a que preço?Instituto de História da ArteRUNMORETHY COUTO, MARIA DE FATIMA2021-04-30T11:47:24Z20192019-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10362/116437eng1646-1762info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-05-22T17:52:15Zoai:run.unl.pt:10362/116437Portal AgregadorONGhttps://www.rcaap.pt/oai/openairemluisa.alvim@gmail.comopendoar:71602024-05-22T17:52:15Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
title |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
spellingShingle |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s MORETHY COUTO, MARIA DE FATIMA Bienais artísticas Década de 1960 Mário pedrosa Pierre restany Art biennials 1960s |
title_short |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
title_full |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
title_fullStr |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
title_full_unstemmed |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
title_sort |
Biennials, there and here: thinking about the “Venetian formula” and the São Paulo Biennial in the 1960s |
author |
MORETHY COUTO, MARIA DE FATIMA |
author_facet |
MORETHY COUTO, MARIA DE FATIMA |
author_role |
author |
dc.contributor.none.fl_str_mv |
RUN |
dc.contributor.author.fl_str_mv |
MORETHY COUTO, MARIA DE FATIMA |
dc.subject.por.fl_str_mv |
Bienais artísticas Década de 1960 Mário pedrosa Pierre restany Art biennials 1960s |
topic |
Bienais artísticas Década de 1960 Mário pedrosa Pierre restany Art biennials 1960s |
description |
In the past few years, due to the remarkable development of art biennials around the globe and their public popularity, different research projects have drawn attention to their history and how they have impacted on the production and reception of artworks in various local and regional scenes. Focusing on two texts, written within one year of each other, by Mário Pedrosa and Pierre Restany, important cultural agents of the time, I shall address the impact of some of these shows in the 1960s, especially the Venice and the São Paulo Biennials. Moreover, I intend to assess their hierarchical position on the international art scene at the time, asking one main question: since its inception, the São Paulo Biennial has adopted the Venice model, but at what costs? |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019 2019-01-01T00:00:00Z 2021-04-30T11:47:24Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10362/116437 |
url |
http://hdl.handle.net/10362/116437 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
1646-1762 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Instituto de História da Arte |
publisher.none.fl_str_mv |
Instituto de História da Arte |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
mluisa.alvim@gmail.com |
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1817545793465221120 |