Instituto Brasil-Estados Unidos: uma experiência no campo artístico carioca

• Autor(a) principal: Formiga, Tarcila Soares
• Data de Publicação: 2009
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/8494
• topic: IBEU; Artistc field; Modern art; IBEU; Campo artístico; Arte moderna; Instituto Brasil - Estados Unidos; Ciências Sociais; Estados Unidos Política cultural; Artes plásticas; CNPQ::CIENCIAS HUMANAS::SOCIOLOGIA

From the middle of the decade of 40 to the beginning of the decade of 60, great transformations were processed in the Brazilian artistic field. On that moment, new artistic establishments were created, the criteria for the artists' and for the art objetcts evaluation had suffered alterations and a debate between the defenders of the figuration and the defenders of the abstraction began after the sedimentation of the modern art in Brazil. In that dispute among different conceptions of modern art, the Instituto Brasil-Estados Unidos (IBEU) stood out for valuing no consecrated artists and the artistic currents considered avant-garde. Created in 1937, in Rio de Janeiro, with the objective of promoting the spiritual solidarity between Brazil and the United States, the institute stood out, mainly, for sponsoring exhibitions of modern art. That characteristic became more flagrant with the formation of an art commission in the institute, in 1944, whose members were responsible for motivating the new values of the art. To emphasize the image of IBEU as a space destined to the modern values, the members of that art commission sponsored the first individual exhibitions of several artists considered abstracts, among them Almir Mavignier, Ivan Serpa, Franz Weissman, Iberê Camargo. Those artists' presence in the exhibitions organized by IBEU was justified by the fact that the members of the art commission were not worried with the market, that is, with the commercialization of art objects. When they uttered the speech of the exorcism of the economical profit as form of joining cultural legitimacy, the members of the commission of art of the institute reinforced the purely cultural character of the gallery IBEU, that differed of the commercial art galleries, and, for that, could work as a space destined to the new artists' revelation. However, that speech adopted by the members of the commission, denying the influence of the market in the artistic subjects, should be understood according to the specificity of the gallery IBEU: it was inserted in a wider institution, created to promote the exchange between Brazil and the United States. The incentive of the plastic arts was just one among other activities developed by the institute with the intention of impelling the cultural changes between the two countries. This way, IBEU sponsored several exhibitions of North American artists and counted with the aid of institutions as the Museum of Modern Art (MoMA) However, that relationship with the North American artistic institutions doesn't totally explain the directions taken by the gallery IBEU. That because not always it was possible to count with the cooperation of those institutions to organize art exhibitions in the gallery, what generated the need to set up a programming in agreement with the conditions offered by the local artistic field. Like this, to supply the demand for an art of good quality, the members of the art commission invested in the artists that still didn't enjoy recognition, but that already dawn as representatives of the modern art values. That investment suggests a sharpened perception of the cultural agents of IBEU, that understood the changes in the field of the plastic arts and could work an appropriate strategy to conquer cultural legitimacy