Brasilidade Post Modernism

Banco do Brasil Cultural Center
Rua Primeiro de Março, 66
Rio de Janeiro
Late or November 22

P A exhibition “Brasilidade Post-Modernismo” celebrates the centenary of the Modern Art Week of 1922 by means of traces, reminiscences and conquests so that we can visit the essence of Brazilian contemporary art presented in this show with 51 artists from different gerações, geographical origins and ethnic groups. .
As curator of Tereza de Arruda, the exposição brings together unpublished works and emblematic works of artists such as: Adriana Varejão, Anna Bella Geiger, Arnaldo Antunes, Cildo Meireles, Daniel Lie, Ernesto Neto, Ge Viana, Jaider Esbell, Rosana Paulino and Tunga, among others.
“Brasilidade Post-Modernismo” is organized in six nuclei: Liberdade, Futuro, Identidade, Natureza, Estética e Poesia. The exhibition includes paintings, photographs, designs, sculptures, installations and new media.
In 1922, the modernists sought the rupture of two Eurocentric patrons in Brazilian culture. Browse, contemporaries seek a revision of history as a starting point for a horizontal dialogue, emphasizing diversity, visibility and inclusion.
A theme of Freedom reflects on the remaining questions of Brazilian colonialism (1530 to 1822), its consequences and historical legacy. The work of Adriana Varejão, Anna Bella Geiger, José Rufino, Rosana Paulino, Farnese de Andrade, Tunga, Ge Viana and José De Quadros reflect this ideia of freedom.
Or group of avant-garde modernist looking for or new, or innovative, unknown, of a constructive order. An example of a future builder in Brasília: the capital was conceived as a utopian idea and is considered one of the two greatest successes of Modernism in Brazil.
Tendo Brasília as an example of a futuristic utopia, or Future nucleus brings together sketches and designs by two architects Lina Bo Bardi, Lúcio Costa and Oscar Niemeyer, the work of the artist Márcia Xavier, and records captured by photographer Joaquim Paiva and filmmaker Jorge Bodanzky.
The characteristics and cultural and social differences of Brazil are related to the fact that the Brazilian population does not have a unique identity. As works by Alex Flemming, Berna Reale, Camila Soato, Fábio Baroli, Flávio Cerqueira, Glauco Rodrigues and Maxwell Alexandre no nucleus Identidade discutem essa questão.
Já the category Natureza appears or Brazil gives plurality of biomes. In relation to being human with nature and sustainability, two artists Armarinhos Teixeira, Caetano Dias, Gisele Camargo, Luzia Simons, Marlene Almeida, Paulo Nazareth, Rosilene Ludovico and Rodrigo Braga are present.
The aesthetics of Brazilian art were two themes raised by modernist hairs, mainly related to the creation of the "Manifesto Manifesto Antropófago", published by Oswald de Andrade in the Revista de Antropofagia de São Paulo, in 1928.
Second curator, Tereza de Arruda, the idea proposed by Oswald was to produce a Brazilian artistic aesthetic from what was learned as Europeans. O nucleus Estética brings together works by Beatriz Milhazes, Cildo Meireles, Emmanuel Nassar, Mira Schendel and Nelson Leirner.
A Modern Art Week and the modernist movement certify that Brazilian Portuguese had to be cultivated and propagated as a national language. As a result of this, there are concrete poems, visual poetry and the empowerment of written art.
In writing it becomes a visual element, with sound abstraction. The artists André Azevedo, Arnaldo Antunes, Augusto de Campos, Floriano Romano, Júlio Plaza, Lenora de Barros, Rejane Cantoni and Shirley Paes Leme represent this legacy.


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