A MINIMAL ART COMO PROJETO POLÍTICO: O CASO DA 8ª BIENAL DE SÃO PAULO / Minimal Art as a political project: the case of the 8th São Paulo Biennial

Este trabalho apresenta a dimensão política da Minimal Art estadunidense a partir da presença de obras preambulares deste movimento artístico na 8ª Bienal Internacional de São Paulo. Deste modo, o presente artigo analisa o projeto político em que consistiu a vinda de obras de Donald Judd, Frank Stella, Robert Irwin e Larry Bell para a 8ª Bienal, em 1965, considerado a estratégia estadunidense de Diplomacia Cultural, cujo escopo ensejou a presença de obras abstratas no certame brasileiro, no contexto da Guerra Fria.Palavras-chave: Minimal Art; 8ª Bienal Internacional de São Paulo; Diplomacia cultural; Anos 1960.AbstractThis paper discusses the political dimension of the Minimal Art movement from the presence of preambular minimalist artworks in the 8th International São Paulo Biennial, in 1965. Thus, the following paper analises the political project that constituted the arrival of artworks of artists such as Donald Judd, Frank Stella, Robert Irwin and Larry Bell to the 8th Biennial, 1965, considering US’ politics of Cultural Diplomacy whose scope gave rise to the presence of abstract artworks at the Brazilian event within the context of the Cold War.Keywords: Minimal Art; 8th International São Paulo Biennial; Cultural diplomacy; 1960’s.

Reinterpretación del jardín japonés en el paisaje occidental del Siglo XX a través de tres paisajistas: James Rose, Isamu Noguchi y Peter Walker

Resumen: En el presente artículo, se analizará el modo en que las diversas epistemologías influencian el paisaje occidental del siglo XX. En efecto se analizará puntualmente cómo los conceptos del jardín japonés influyeron en el paisaje occidental, rompiendo con los lineamientos axiales impuestos por la academia clasicista europea. Para ello se profundizará en las obras de tres paisajistas: James Rose, Isamu Noguchi y Peter Walker. El primer, James Rose, adepto al budismo zen, fue pionero en el paisaje moderno americano. Su aproximación a la cultura y filosofía japonesa le permitió interactuar de forma directa y espontánea con la naturaleza. Por su parte, Isamu Noguchi, con un amplio bagaje cultural, trasgredió los criterios de los jardines de sus ancestros y desarrolló un micropaisaje escultórico en pleno centro urbano. Finalmente, Peter Walker, estuvo influenciado por el minimal art como así también por los jardines geométricos de Japón. Se observa la geometría yuxtapuesta con lo natural. En efecto, es en el jardín japonés, y en la epistemología oriental en donde estos paisajistas exploran y extraer ideas con las que logran dar un vuelco novedoso y casi espiritual al paisaje occidental.

EXPOSING WYSPIAŃSKI

The purpose of the paper is to show the designer’s perspective on the story and a broader context of the creation of a monograph exhibition dedicated to the oeuvre of Stanisław Wyspiański at the National Museum in Cracow. Composed of two parts: ‘Wyspiański’ and ‘Wyspiański. Unknown’, the Exhibition held between 28 November 2017 and 5 May 2019 was the largest to-date presentation of the works of the versatile artist, while from the point of view of its arrangement, it served as an attempt at finding adequate contemporary expression means to show the multiple and varied character of his oeuvre. A wide range of inspirations are presented: beginning with carefully selected motifs derived from Wyspiański’s art, up to indirect echoing of the activity of some selected artists, mainly affiliated with minimal art. That temporary implementation is thus not analyzed merely in the local context, but also a broader, global one, taking into account carefully selected pieces of world art and architecture, while the paper itself can be regarded as a completion and perpetuation of the no longer existing Exhibition.

PERCEPTIONAL DIMENSIONS OF AUDIENCE -WORK INTERACTION IN MINIMALISM ART MOVEMENT

One of the breaking points of the change that art has undergone in terms of both form and content is Minimalism. There are processes that affect the existence of every art movement. The sociocultural structure that emerged after the World Wars has had influence in the field of art, as in many other fields. The Abstract Expressionism movement that emerged in this period, aimed at rejecting the familiar structure of painting, detached objects from their real-world forms / characteristic structures and included unusual artistic forms in the process. Despite this hard-to-perceive automatism-based complex structuring put forward by the Abstract Expressionism movement in art, it is a common belief that Minimalism, which aims at plain and simple forms based on logic in painting and sculpture, is "a reaction against Abstract Expressionism". Despite the "subjective" based complex formalism that Abstract Expressionists have created with the intensity of emotion, Minimalists have revealed their understanding of art with the "objective" based forms they have created as a result of a planned effort. However, the simplicity of the forms in Minimalism should not bring to mind the idea that the intellectual dimension in the essence of the works can be easily perceived. The existence of conceptual values should be taken into consideration in the formation of minimal forms. Although minimal art is shaped with an "objective" approach, it is important to reveal the sociocultural motivations that affect the formation of the works in the essence of the audience's ability to perceive the works. Minimalism, which centers the interaction of "industry, object and art", opens a critical space for the audience, who are the receptors of art, regarding the state of art. On the basis of this criticism, beyond its plain style, Minimal art's complex conceptual (intellectual) structure can be manifested. Purpose of this research, To reveal the intellectual foundations that affect the formation of Minimal art and to touch on the perceptual dimensions of the minimal artworks and audience interaction. In this research conducted within the framework of the title of "Perceptual Dimensions of Audience-Work Interaction in Minimalism Art Movement", scanning method has been used to obtain information and documents. The obtained information and documents have been used in a way that provides integrity for the purpose of the research. Keywords: art, Minimalism, object, Conceptual Art, perception, audience