Special Edition – 22 cem anos depois: Centenary of Week of Modern Art: “Looking at the other: Modernism, race, and representation”

by Victória Bárbara Lopes dos Santos*

 

Translated by Claudia Pires de Castro

Edited and reviewed by Claudia Pires de Castro and Giovanna Imbernon

Organized by Dr. Conrado Pires de Castro

 

Modernism: the vanguard and its Others

In July 2019, Museu de Arte de São Paulo – MASP (Museum of  Art of São Paulo) celebrated the […]

By |2022-04-08T22:19:12+02:00March 23rd, 2022|Vol. 3 Num. 3|

Special Edition – 22 cem anos depois: Centenary of Week of Modern Art: “Manifesto of the Contemporary Indigenous Literature”

Organized by Dr. Conrado Pries de Castro. Translated by Giovanna Imbernon. Edited and reviewed by Claudia Pires de Castro and Giovanna Imbernon. "We grasp the 20th century by the tail, by the letters of the Latin alphabet. We write to honor our ancestors. We write to determine our own destiny. Self-determination. No more anthropophagic excuses, good intentions, full of tributes, and inspiration. Enough of taking our identities and narratives, turning them into a white’s place of occupation. No more appropriation. We want self-determination! We are the first."

By |2022-04-08T22:21:29+02:00March 16th, 2022|Vol. 3 Num. 3|

Special Edition – 22 cem anos depois: Centenary of Week of Modern Art: “Anthropophagic utopia survives, more actual than ever.”

Organized by Dr. Conrado Pries de Castro. Edited and reviewed by Claudia Pires de Castro and Giovanna Imbernon. "Nevertheless, today, the left in general, even in the field of culture, is dejected after the neoliberal shock of the last period and the rise of the far-right. Although not explicitly, it is evident that the “isms” in Brazil and throughout the world resulted from a historical opening that engendered aesthetic and political transformations. The 1920s, worldwide, was a decade of utopias and revolutions (and counter-utopias and counter-revolutions). We need to find a crack in this history that has closed for us, and I think the modernist project can perhaps help us with that."

By |2022-04-08T22:22:13+02:00March 9th, 2022|Vol. 3 Num. 3|

Special Edition – 22 cem anos depois: Centenary of Week of Modern Art: “The Week in us”

Organized by Dr. Conrado Pries de Castro. Translated by Claudia Pires de Castro. Edited and reviewed by Claudia Pires de Castro and Giovanna Imbernon. "São Paulo. The way to the sea. Capitania of São Vicente. Port of Santos. Europe. In the comings and goings of the countryside's plateaus. At the continent. At crossing the Atlantic. We will still go to Europe. “In a coffee landfill”! As the samba composer, Noel Rosa says. Reaffirming the sentence.  “Happiness is the litmus test”. From the Anthropophagic Manifesto."

By |2022-04-08T22:22:33+02:00March 2nd, 2022|Vol. 3 Num. 3|

Special Edition – 22 cem anos depois: Centenary of Week of Modern Art: “Still Modernism? Modernism rides again…”

Organized by Dr. Conrado Pries de Castro. Edited and reviewed by Claudia Pires de Castro and Giovanna Imbernon. "Disputes, controversies, interpretations, conflicts, contradictions have run deep throughout Brazilian culture, in its social life and material civilization, over the past hundred years. They express Brazil’s fantasies and hopes of having a date with the modern, with modernity. Without even noticing the high levels of modernity hiding inside this land of contrasts, according to Roger Bastide, that is, of contrasts and confrontations, as Euclides da Cunha pointed out in 1907. For those reasons, debates on the Week of Modern Art and the Modernist Movement have a lot to say about Brazil’s past and presents evils."

By |2022-04-08T22:23:09+02:00February 23rd, 2022|Vol. 3 Num. 3|

Special Edition – Brazilian Cinema: Seven Years in May and the representation of bloodstains on Brazil’s asphalt

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "The film's turning point is at the moment when there is the intervention of an interlocutor who, like Fael, is a young black man. He declares: "my story is just like yours". The clash between the traditional documentary interview with the fiction's counter-field removes the margins of support from a purely documentary scene and at the same time shifts the singularity of Fael's testimony to a testimony that is common to so many."

By |2021-12-01T13:37:33+01:00December 1st, 2021|Vol. 2 Num. 3|

Special Edition – Brazilian Cinema: Dazed Flesh and the spaces of possibility

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Defined as a transcription of the theatrical piece, the movie broadens the play’s original meanings by using audiovisual resources and creating what I dare call spaces of possibility of the play’s language and discourse. The very corporeal performance faced the challenge of transforming itself into a cinematic experience."

By |2021-11-28T12:02:02+01:00November 24th, 2021|Vol. 2 Num. 3|

Special Edition – Brazilian Cinema: The return of the gaze: length on Raulino’s portraits

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "We must learn from Raulino, who was a digital enthusiast – one of the first filmmakers to accept and realize the power of the medium – and who believed that from the moment we can press the rec button on, using whatever it is, we can make a film with it."

By |2022-04-08T22:23:21+02:00November 17th, 2021|Vol. 2 Num. 3|

Special Edition – Brazilian Cinema: If I knew who invented the job…

Organized by Elcio Brasilio. Edited and reviewed by Anna Paula Bennech and Giovanna Imbernon. "Many of the documentaries from this period are directly related to the union movements, often conceived as communication pieces or historical reports. Other films intended to amplify the message of those workers, reaching out the public opinion, although their productions were not involved with the unions. Their social function was oriented by a certain political trend that, in turn, shaped them as oeuvres."

By |2022-04-08T22:15:46+02:00November 10th, 2021|Vol. 2 Num. 3|

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This Sliding Bar can be switched on or off in theme options, and can take any widget you throw at it or even fill it with your custom HTML Code. Its perfect for grabbing the attention of your viewers. Choose between 1, 2, 3 or 4 columns, set the background color, widget divider color, activate transparency, a top border or fully disable it on desktop and mobile.
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