Synopsis
Winner, 2022 Association of University Presses Book, Jacket, and Journal Show in the Scholarly Illustrated Category
A significant contribution on the development and aftermath of post–World War II Concretism in Brazil
Form and Feeling features a collection of essays by noted scholars exploring the sensorial, experience-based, and participatory practices pioneered in the 1950s by artists and poets such as Flávio de Carvalho, Ivan Serpa, Hélio Oiticica, Haroldo de Campos, Mary Vieira, Lygia Pape, Anna Maria Maiolino, Lygia Clark, Waly Salomão, and Emil Forman, among many others. Fourteen thought-provoking essays examine how many of their strategies constituted a pertinent critique of the country’s wide-ranging embrace of Eurocentric modernity while anticipating a number of practices prevalent among contemporary artists today―namely, the rise of art as social practice, the embrace of pedagogical concerns by artists, and relational aesthetics.
The fourteen essays collected in this volume consider the ramifications of modernist abstraction in the second half of the twentieth century and contribute to a growing academic field in postwar Brazilian and Latin American art history. Contributions to this anthology examine the development of modernist ideas that flourished in Brazil during a controversial period interspersed by dictatorial regimes. The global aspect of Brazilian art is especially evident in these studies, presenting the relational complexity of their subjects as transcultural, transnational actors while simultaneously contributing to a growing, increasingly nuanced understanding of visual and material culture, performance, and criticism in Brazil.
Form and Feeling continues the important process of re-analyzing the intersections of Concretism and Neo concretism, arguing for greater affinities between the primary and lesser-known cast of characters while equally redistributing the strict geographical divisions of São Paulo and Rio de Janeiro. This anthology broadly situates this extraordinary period of artistic experimentation in direct relationship to contemporary factors, such as psychoanalysis, educational systems, poetry, politics, and feminism. It crafts innovative relationships about the constructive hierarchies of form and space, poetry and painting, and mathematics and philosophy, thus engendering new positions for a deeply ensconced period in Brazilian history.
About the Authors
Antonio Sergio Bessa is a scholar of concrete poetry and the author of Öyvind Fahlström: The Art of Writing (2008). He has edited several volumes on concrete poetry including Haroldo de Campos’s Novas: Selected Writings (with Odile Cisneros, 2007), and Mary Ellen Solt: Toward a Theory of Concrete Poetry (2010).
Michael Asbury is a London-based art historian, art critic, and curator. He is Reader of Art History and Theory at Chelsea College of Arts, University of the Arts London (UAL) and founding member of the Research Centre for Transnational Art, Identity and Nation (TrAIN). Over the last twenty years he has written extensively on themes involving modern and contemporary art with a particular emphasis on Brazilian culture. His work has been published internationally by Americas Society, Art in America, Astrup Fearnley, Cisneros Fontanals Art Foundation, Cosac Naify, Documenta Kassel (12), Fundação Calouste Gulbenkian, Flash Art, Fundação Iberê Camargo, Liverpool University Press, MIT Press, Perspectiva, Rodopi, Schirn Kunsthalle Frankfurt, Tate Publishing, Third Text, Turner Contemporary, and Wilhelm/Fink, among others. He has curated a number of exhibitions on artists such as Alfredo Volpi, Anna Maria Maiolino, Antonio Manuel, Cao Guimaraes, Cildo Meireles, Detanico and Lain, Ibere Camargo, Jose Oiticica Filho, José Patricio, and Rosangela Rennó as well as on themes such as Brazilian photography and architecture, concrete and neoconcrete art, and the monochrome in contemporary art.
Claudia Calirman is associate professor in the Department of Art and Music at John Jay College of Criminal Justice, New York. Her areas of study are Latin American, modern, and contemporary art. She is the author of Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles (2012), which analyzes the intersection of politics and the visual arts during the most repressive years of Brazil’s military regime from 1968 to 1975. The book received the 2013 Arvey Award by the Association for Latin American Art. Calirman is a recipient of the Arts Writers Grant from Creative Capital/Warhol Foundation and was a Visiting Scholar at the David Rockefeller Center for Latin American Studies at Harvard University. She is a member of the International Association of Art Critics (AICA). Calirman has curated several exhibitions in New York, including Berna Reale: While You Laugh (2019); Basta! Art and Violence in Latin America (2016); and Antonio Manuel: I Want to Act, not Represent! (2011).
Frederico Coelho is a researcher, essayist, and professor of Brazilian literature and performing arts in the Department of Literature at the Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio). He has an MA in history from Instituto de Filosofia e Ciências Sociais at Universidade Federal do Rio de Janeiro and a PhD in literature from PUC-Rio. He was a researcher for the exhibitions Tropicália―A Revolution in Brazilian Culture (2006) and Hélio Oiticica―To Organize Delirium (2018). His publications include Livro ou livro-me: os escritos babilônicos de Hélio Oiticica (2010), Eu, brasileiro, confesso minha culpa e meu pecado: cultura marginal no Brasil 1960/1970 (2010), and (with César Oiticica Filho) Hélio Oiticica: Conglomerado/Newyorkaises (2013).
Simone Homem de Mello is a poet and translator. Her poems are collected in Périplos (São Paulo, 2005), Extravio Marinho (São Paulo, 2010), and Terminal, à escrita (São Paulo, 2015), as well as in anthologies of Brazilian contemporary poetry. She has written libretti for operas, including Orpheus Kristall (composed by Manfred Stahnke, Munich, 2002), Keine Stille außer der des Windes (composed by Sidney Corbett, Bremen, 2007) and UBU―Eine musikalische Groteske (composed by Sidney Corbett, Gelsenkirchen, 2012). She has translated into Portuguese novels by Peter Handke and several modern and contemporary German poets (including Arno Holz, Thomas Kling, Ulf Stolterfoht, and Barbara Köhler). She has also translated Augusto de Campos’s poems into German (Augusto de Campos: Poesie, 2019). Mello studied German literature at the University of São Paulo and at the University of Cologne. Her PhD thesis in translation studies the University of Santa Catarina is about the translation of avant-garde poetry. From 2012 to 2014, she coordinated the Centro de Referência Haroldo de Campos (Casa das Rosas, São Paulo). Since 2011 she has directed the Center for Literary Translation Studies at the museum Casa Guilherme de Almeida in São Paulo.
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