scholarly journals Museum of Contemporary Art of Universidade de São Paulo

2012 ◽  
Vol 34 (2) ◽  
pp. 129-130
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
São Paulo ◽  
Museum Of Contemporary Art

scholarly journals The life of the line: A sketch by Paulo Mendes da Rocha for the Museu de Arte Contemporânea da Universidade de São Paulo

REVISTARQUIS ◽  
2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Daniele Pisani
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
Point Of View ◽  
São Paulo ◽  
Museum Of Contemporary Art ◽  
The Many ◽  
Source Of Information ◽  
The Universe ◽  
Arte Contemporáneo

Resumen En oposición a la tendencia de considerar el dibujo arquitectónico como una simple fuente de información sobre el proyecto, o limitarse a contemplar su eventual belleza, este ensayo pretende analizar un boceto en su especificidad. Para hacer este tipo de experimento, el texto utiliza uno de los muchos bocetos realizados por Paulo Mendes da Rocha durante la preparación del proyecto para el Museo de Arte Contemporáneo de la Universidad de Sao Paulo (1974-1975). El objetivo no es aislar artificialmente un dibujo entre los muchos otros que le dan una autonomía que no le es propia, sino adoptar un nuevo punto de vista, a través del análisis de un diseño dentro del universo de diseño específico del arquitecto brasileño.Abstract Against the tendency to consider the drawing in architecture as a simple source of information about the project, or simply to contemplate its potential beauty, this essay aims to analyse one it in its specificity. To carry out this experiment, the text uses one of the many sketches made by Paulo Mendes da Rocha during the preparation of the project for the Museum of Contemporary Art from University of São Paulo (1974-1975). The aim is not to artificially isolate one drawing among the many, giving it an autonomy that it does not possess, but to adopt a new point of view on the universe of the Brazilian architect.

The Bauhaus in Brazil: Pedagogy and Practice

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 27-49
Author(s):  
Adele Nelson
Keyword(s):  
Cold War ◽  
Contemporary Art ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
São Paulo ◽  
German School ◽  
The 1950S ◽  
Art Schools

This article analyzes the rhetorical and discursive resonance of the claims by artists and art professionals in Brazil in the 1950s of a connection to the Bauhaus. I examine the curricula of two new art schools established in São Paulo and Rio de Janeiro, emphasizing the role of central figures, including Mário Pedrosa, and the works by artists trained at the schools, and study paintings by Lygia Clark that in part elicited Alfred H. Barr, Jr. in 1957 to dismiss Brazilian contemporary art as “Bauhaus exercises.” Rather than a case of imitation, as Barr suggested, Brazilian actors transformed Bauhaus ideas, mediated by Cold War re-interpretations of the German school and its approaches to artistic education, to articulate tactics of citation and adaptation and to assert a non-derivative, radical conception of modernism.

scholarly journals The Global/Local Power of the Inhotim Institute: Contemporary Art, the Environment and Private Museums in Brazil

2018 ◽  
Author(s):  
Maurício Barros De Castro
Keyword(s):  
Media Studies ◽  
Contemporary Art ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
São Paulo ◽  
Local Power ◽  
Brazilian Art ◽  
Botanical Collection ◽  
Art Scene ◽  
Private Museums

At the end of the 1940s, three important private museums emerged in Brazil’s two biggest metropolises, São Paulo and Rio de Janeiro, establishing a circuit that would prove essential to the consolidation and internationalization of modern and contemporary Brazilian art. During this period, entrepreneurs and collectors created the Museu de Arte Moderna do Rio de Janeiro (MAM–RJ, in 1948), the Museu de Arte de São Paulo (MASP, in 1948) and the Museu de Arte Moderna de São Paulo (MAM–SP, in 1947). As an heir to this tradition, but adopting a radically new proposal, the Inhotim Institute emerged approximatley sixty years later, in 2004. Located in the state of Minas Gerais, Inhotim harbors a museum complex with a series of pavilions and galleries with works of art and sculptures displayed in the open air, in a rural ambience that also contains a vast botanical collection of rare species. Like the private museums founded in Brazil in the 1940s, Inhotim’s creation was directly linked to the trajectory of entrepreneurs and collectors. The institution was created by businessman Bernardo Paz to hold the collection started by himself in the 1980s and that now runs to more than 450 works by Brazilian and international artists, making it one of the world’s most important collections of contemporary art. This paper discusses the tradition of private museums in Brazil and Inhotim’s impact on the contemporary art scene in the country and globally. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Barros de Castro, Maurício. "The Global/Local Power of the Inhotim Institute: Contemporary Art, the Environment and Private Museums in Brazil." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.239

scholarly journals DESLOCAMENTO, FORMAÇÃO E LEGITIMAÇÃO: uma análise de programas de residência artística no Brasil

Caderno CRH ◽  
2019 ◽  
Vol 32 (87) ◽  
pp. 561
Author(s):  
Guilherme Marcondes
Keyword(s):  
Contemporary Art ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
Private Institutions ◽  
São Paulo ◽  
Mots Clés ◽  
Residency Programs ◽  
Belo Horizonte ◽  
The Universe ◽  
Red Bull

<p>No universo da arte contemporânea brasileira, instituições públicas ou privadas divulgam anualmente editais voltados para jovens artistas, cujo objetivo é fomentar o seu deslocamento para espaços diferenciados de interação social e trocas, a fim de incentivar sua produção. Nas residências, o artista complementa e aprimora sua formação através de novas experiências com o entorno, desenvolvendo seu trabalho longe do ambiente de costume. Neste artigo, objetiva-se compreender como tais programas têm alterado os processos de formação e legitimação de artistas no Brasil. Para isso, são analisados os editais de seleção de três programas de residência artística: o Programa Bolsa Pampulha, promovido, desde 2003, pela Prefeitura Municipal de Belo Horizonte, no Museu de Arte da Pampulha; a Casa B-Residência Artística, lançada em 2016 pelo Museu do Bispo Rosário Arte Contemporânea (MBRAC), no Rio de Janeiro, com incentivo da FUNARTE; e a Residência Artística Red Bull Station, iniciativa financiada pela empresa austríaca Red Bull em São Paulo, desde 2013.</p><p> </p><p>DISPLACEMENT, TRAINING AND LEGITIMATION: an analysis of artistic residency programs in Brazil</p><p>In the universe of Brazilian contemporary art, public or private institutions annually publish notices aimed at young artists, whose purpose is to encourage<br />their displacement to different spaces of social interaction and exchanges, in order to encourage their production. In the residences, the artist complements and improves his formation through new experiences with the surroundings, developing his work away from the usual environment. This article aims to understand how such programs have altered the processes of formation and legitimation of artists in Brazil. For this, the selection notices for three artistic residency programs are analyzed: the Programa Bolsa Pampulha, promoted since 2003 by the Belo Horizonte City Hall at the Museu de Arte da Pampulha; the Casa B-Residência Artística, launched in 2016 by the Museu do Bispo Rosário Arte Contemporânea (MBRAC), in Rio de Janeiro, with the encouragement of FUNARTE; and the Residência Artística Red Bull Station, an initiative funded by the Austrian company Red Bull in São Paulo, since 2013.</p><p>Keywords: Contemporary art. Young artists. Artistic residences. Displacement. Legitimation. Career.</p><p> </p><p>DÉPLACEMENT, FORMATION ET LÉGITIMATION: une analyse des programmes de résidence artistique au Brésil</p><p>Dans l’univers de l’art contemporain brésilien, les institutions publiques ou privées publient annuellement des avis destinés aux jeunes artistes, dont le but est d’encourager leur déplacement vers différents espaces d’interaction et d’échanges sociaux, afin d’encourager leur production. Dans les résidences, l’artiste complète et améliore sa formation à travers de nouvelles expériences avec l’environnement, en développant son travail loin de l’environnement habituel. Cet article vise à comprendre comment ces programmes ont modifié les processus de formation et de légitimation des artistes au Brésil. À cette<br />fin, les avis de sélection pour trois programmes de résidence artistique sont analysés: le Programa Bolsa Pampulha, promu depuis 2003 par la mairie de Belo<br />Horizonte au Museu de Arte da Pampulha; la Casa B-Residência Artística, lancée en 2016 par le Museu do Bispo Rosário Arte Contemporânea (MBRAC), à<br />Rio de Janeiro, avec l’encouragement de FUNARTE; et la Residência Artística Red Bull Station, une initiative financée par la société autrichienne Red Bull à São Paulo, depuis 2013.</p><p>Mots-clés: art contemporain. Jeunes artistes. Résidences artistiques. Déplacement. Légitimation. Carrière.</p>

scholarly journals O corpo mediador: dança e mediação no museu

REPERTÓRIO ◽  
2017 ◽  
pp. 390
Author(s):  
Aila Regina Da Silva
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
Heterogeneous Group ◽  
Human Being ◽  
São Paulo ◽  
Dance Performance ◽  
Site Specific ◽  
Specific Process ◽  
And Performance

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo heterogêneo de pessoas a vivências de dança e, posteriormente, ao diálogo sobre a obra de arte no Museu de Arte Contemporânea da Universidade de São Paulo.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança. Performance. <em>Site specific</em>. Mediação.<span class="Apple-converted-space"> </span></p><p class="p3"><span class="Apple-converted-space"><br /></span></p><p>MEDIATOR BODY: DANCE AND MEDIATION IN THE MUSEUM</p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p5"><em>From a simple blink of eyes to an action of jumping, the dance provides to the human being new connections with himself and with the space around him. This article is a study about the relation among the mediation with dance, ‘site specific’ process and performance as indirect products from the mediation experience. Part of the Masters’ project “Do not touch. Dance, though. Dance and mediation in the Contemporary Museum</em><span class="s2"><em>”, the project put a heterogeneous group into living mediations that combine dance improvisations as a way to talk about contemporary art.</em></span></p><p class="p6"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Dance. Performance. Site specific. Mediation.</em></p>

scholarly journals Shoreline: Image and Representation of the Seacoast and Contemporary Art

2015 ◽  
Vol 13 (26) ◽  
pp. 118
Author(s):  
Geraldo Souza Dias
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
São Paulo

O artigo apresenta uma reflexão sobre a prática sistemática (pesquisa?) desenvolvida na ECA/USP em parceria com o Instituto Oceanográfico da USP nos últimos anos, com foco na representação ou imaginação da paisagem litorânea em Cananéia (litoral sul do Estado de São Paulo), e sugere um levantamento de estudos e/ou práticas artísticas que tenham sido realizados em outras áreas costeiras do Brasil, com o intuito de produzir um futuro mapeamento dessas pesquisas e seus desdobramentos artísticos, didáticos e socioculturais

Seasonal Variation of Suicide in the City of São Paulo, Brazil, 1996–2010

Crisis ◽  
2014 ◽  
Vol 35 (1) ◽  
pp. 5-9 ◽  
Author(s):  
Daniel Hideki Bando ◽  
Fernando Madalena Volpe
Keyword(s):  
Seasonal Pattern ◽  
Total Sample ◽  
Sao Paulo ◽  
Seasonal Patterns ◽  
São Paulo ◽  
Health Statistics ◽  
Males And Females ◽  
June July ◽  
The City ◽  
Over Time

Background: In light of the few reports from intertropical latitudes and their conflicting results, we aimed to replicate and update the investigation of seasonal patterns of suicide occurrences in the city of São Paulo, Brazil. Methods: Data relating to male and female suicides were extracted from the Mortality Information Enhancement Program (PRO-AIM), the official health statistics of the municipality of São Paulo. Seasonality was assessed by studying distribution of suicides over time using cosinor analyses. Results: There were 6,916 registered suicides (76.7% men), with an average of 39.0 ± 7.0 observed suicides per month. For the total sample and for both sexes, cosinor analysis estimated a significant seasonal pattern. For the total sample and for males suicide peaked in November (late spring) with a trough in May–June (late autumn). For females, the estimated peak occurred in January, and the trough in June–July. Conclusions: A seasonal pattern of suicides was found for both males and females, peaking in spring/summer and dipping in fall/winter. The scarcity of reports from intertropical latitudes warrants promoting more studies in this area.

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