O pavilhão brasileiro na 32ª edição da bienal de Veneza (1964)

Dunia Roquetti

doi:https://doi.org/10.11606/issn.2317-2762.posfauusp.2024.212439

O pavilhão brasileiro na 32ª edição da bienal de Veneza (1964)

Dunia Roquetti

Instituto de História da Arte (IHA)

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Abstract

This article aims to review the construction trajectory and subse-quent inauguration of the Brazilian pavilion, at the 32nd edition of the Venice Biennale, in 1964. With an inedited documentation, collected in the Venice Biennale Historical Archive of Contempo-rary Arts (ASAC), we examine the historical process of Brazilian artistic and geographical affirmation in the Italian exposition. We also address the close connection between the dissolution of the old MAM (1962) and the creation of the institutions MAC USP (1963), Fundação Bienal de São Paulo (1963), showing here a new conditioning in the management of Brazilian modern art. We will also contextualise the backstage of the inauguration of the Brazilian pavilion with the out of step recovery of the modernist language of Tarsila do Amaral on its opening.

Original language	Portuguese
Pages (from-to)	1-12
Number of pages	12
Journal	Revista PosFAUUSP
Volume	31
Issue number	58
DOIs	https://doi.org/10.11606/issn.2317-2762.posfauusp.2024.212439
Publication status	Published - Feb 2024

Keywords

Pavilhão brasileiro
Bienal de Veneza
Tarsila do Amaral
Modernismo

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https://doi.org/10.11606/issn.2317-2762.posfauusp.2024.212439Licence: CC BY-ND

O pavilhão brasileiro na 32ª edição da bienal de Veneza (1964)Final published version, 825 KBLicence: CC BY-ND

https://www.revistas.usp.br/posfau/article/view/212439Licence: CC BY-ND

Cite this

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abstract = "This article aims to review the construction trajectory and subse-quent inauguration of the Brazilian pavilion, at the 32nd edition of the Venice Biennale, in 1964. With an inedited documentation, collected in the Venice Biennale Historical Archive of Contempo-rary Arts (ASAC), we examine the historical process of Brazilian artistic and geographical affirmation in the Italian exposition. We also address the close connection between the dissolution of the old MAM (1962) and the creation of the institutions MAC USP (1963), Funda{\c c}{\~a}o Bienal de S{\~a}o Paulo (1963), showing here a new conditioning in the management of Brazilian modern art. We will also contextualise the backstage of the inauguration of the Brazilian pavilion with the out of step recovery of the modernist language of Tarsila do Amaral on its opening.",

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