Klaxon-Mania: Centenary of the São Paulo Modern Art Week 1922 – Paris 2022 presents a selection of contemporary Brazilian artists and their historical influences, in a reflection that starts from the Modern Art Week of São Paulo, 1922. The exhibition also reveals a cross-looking at French culture – one one of the largest cultural partners of Brazil since the early twentieth century. It was the time when the country started generating its own artistic cultural manifestations in the fields of music, literature, and fine arts. Brazilian artists, spending great seasons of studies in France, according to the tradition of that time, realized that returning and rediscovering their own means and processes was part of the fact that generates understanding of their original culture.
Today, artists Ana Luiza Rodrigues, Antonio Sergio Moreira, Frans Krajcberg, Gonçalo Ivo, José Diniz, Juan Esteves, Lina Bo Bardi, Lita Cerqueira, Lívia Melzi and Niura Bellavinha are invited to reflect on the internal and external influences suffered since the beginning of the 20th Century presenting us a selection of artworks that speak of these voluntary or involuntary nuances and the importance of finding their own path through an anthropophagic relationship between human and art.
The location, Galerie Dauphine is a temporary exhibition gallery, an integral part of Marché Dauphine, a place of aesthetic and human meetings, which has always illustrated and illustrates the possible miscegenation of cultures, as well as artistic proposals from human creative associations and emotions. It was quickly evident the necessity to support a project that proposes the dialogue of the past with the present and the future, presenting the influences of the past on contemporary art showing works that will be tomorrow’s heritage. Situated in the heart of Paris Saint-Ouen’s flea market, Marché Dauphine is a place that constantly reviews history and our relationship with art and design.
Curator and Scenography: Ricardo Fernandes
About the artists:
The main Brazilian journal of Modernism, Klaxon Magazine, published between 1922 and 1929, is at the center of reflections undertaken at the time of this exhibition. Conceived as an intellectual, political and artistic alert of the time, this communication support brought together the vision of artists of the Modern Art Week in their multiple original manifestations. They collaborated in the magazine: Mário de Andrade, Oswald de Andrade, Di Cavalcanti, Tarsila do Amaral, Anita Malfatti and Menotti del Picchia.
The selection of works for the collective show starts a discussion about the internal and external influences that the Modern Art Week has had on artists since the turn of the 20th century and reaffirms the importance of contemporary artists meeting their own path, always inspired by the cultural anthropophagy proposed by compatriots at the beginning of last century.
Since the beginning of the 19th century, France has been one of Brazil’s most important cultural partners. The exhibition also reveals the rich cultural exchanges between Brazil and France over the years.
The beginning of the 20th century was marked by a new generation of artists determined to establish themselves in the fields of music, literature, and the visual arts. In fact, at that time, several Brazilian artists spent long periods in France to study. Upon returning to Brazil, they realized that rediscovering their own creative processes would generate a better understanding of Brazilian culture since its origins.
Regard croisée with Palais de Tokyo
The collective show Klaxon-mania at Marché Dauphine takes place in parallel with the solo show Tupi or not Tupi by artist Lívia Melzi, which will take place at the Palais de Tokyo from October 20 to November 27.
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