O modernismo brasileiro e o contexto cultural dos anos 20

Brazilian modernism is viewed in comparison to other modernist movements taking place in Mercosul countries. The article dwells on the infl uences from art deco trends on Brazilian modernist artists, nationalism in art and the features of the works by the leading fi gures of the movement in the 1920s and 1930s.O modernismo brasileiro visto em análise comparativa com outros movimentos modernistas de países do Mercosul. Influências de tendências como o art déco em artistas modernistas brasileiros. Nacionalismo na arte e características da produção das principais fi guras do movimento nos anos 20 e 30

Da fotografia como arte à arte como fotografia: a experiência do Museu de Arte Contemporânea da USP na década de 1970

Este ensaio visa sistematizar os primeiros resultados de uma pesquisa, ainda em curso, sobre o processo de legitimação da fotografia pelo sistema de arte no Brasil, cujo foco principal é o museu. Os museus de arte da cidade de São Paulo foram escolhidos para dar início a essa investigação. Primeiramente, será abordada, em linhas gerais, a presença da fotografia no Museu de Arte Moderna de São Paulo e na Bienal de São Paulo, dada a vinculação de origem do Museu de Arte Contemporânea com essas duas instituições paulistanas. Na seqüência será analisada a formação do acervo fotográfico do Museu de Arte Contemporânea da Universidade de São Paulo durante a década de 1970. Por fim, esse percurso permitirá observar que a atuação de Walter Zanini, o primeiro diretor do Museu, e as particularidades da posição do MAC-USP no sistema de arte no Brasil naquele período resultaram no entendimento da fotografia prioritariamente no âmbito da arte contemporânea de caráter experimental e não como obra de arte autônoma, segundo os princípios da chamada fotografia artística.This article presents the first findings of a research still under development about the process of legitimation of photography as a kind of art by the artistic scene in Brazil. The art museums of the city of São Paulo were chosen for starting that research. Initially, we will be investigating the presence of photography at the Contemporary Art Museum of São Paulo and at the Biennial of São Paulo, as the origin of the Contemporary Art Museum is tided to those two institutions. Following, the arrangement of the photographic technical reserve of the Contemporary Art Museum in the 1970s will be analyzed. This study will be focusing on the work of Walter Zanini, as the first director of the museum, and on the particularities of MAC-USP position in the art system in Brazil which resulted in the understanding of photography as belonging to the sphere of contemporary art in an experimental way and not as an autonomous work of art, according to the principals of the so called artistic photography

O império dos mil anos e a arte do "tempo barroco": a águia bicéfala como emblema da Cristandade

The article reveals that between the mid-17th century and the mid-18th century, in the ecclesiastical world of the religious orders (Jesuits, franciscans, Carmelites, Cistercians, Augustinian, etc.) and the episcopate, there was the progressive adoption of the imperial symbol, the double-headed eagle, attribute of the Christian Empire, the germanic Holy Roman Empire emblem. However, in the religious field, this imperial eagle of the baroque time appears without the political insignia (sword, scepter and the imperial orb), adorning altars, monstrances, trumphal archs, facades of temples, doors, walls, domes, pulpits, sacred washbasins, sculptures and paintings of the Virgin and Child, liturgical robes, etc.; therefore related to the cult and the dogmas of the Catholic faith - in artistic works, the association between the double eagle and the flesh-spirit or human-divine unity, axial principle of the Catholic faith, represented by Virgin-Mother and Christ, is often indicated directly. The research has located and identified numerous remnants of the double eagle emblem in religious field in Portugal and Spain and in their conquests and dominions in America, Asia and Africa, and also in Italy, and the historiography on painful birth of the modern era in the West has never realized this phenomenon. Symbolizing absolute power, universal power, these works with sacred significance, as the ecclesiastical discourse of the time, demonstrate movement occurred in religious plane. With the aim to assert not only spiritual but also temporal power of Christ and his mystical body, the Church was impelled by the idea of restoring the "Republica Christiana" or Christendon - disrupted by conflicts of power and faith - and of introducing a Universal Apostolic Monarchy extended to all mankind: the Empire of the Last Days, the Empire of Christ in the world, the fifth Empire