O dia 8 de junho de 1931 em São Paulo

A Experiência nº 2, de Flávio de Carvalho, como emblema de um modernismo outro

Alva Martínez Teixeiro

Abstract

This article focuses on the work of the avant-garde artist Flávio de Carvalho that was seen at the time as one of the possible ways to build another kind of modernism and that is at the core of this present study: a different kind of modernism that would be more cosmopolitan, more inconvenient and more libertarian than that which corresponded to the consensual and cliquish ideas found in Brazilian Modernism tout court. I carry out, on the one hand, an evaluative analysis of the specificities and the contributions of this São Paulo artist’s unorthodox and (self) questioning Experiência nº 2 (1931), at the crossroads of different art forms, generic hybridization and the performance acts that it generates. On the other hand, I also examine the cultural encyclopaedia of the psychological and anthropological pensum that lies behind this experiential action-test, the Dadaist, expressionist and surrealist plastic- interventionist mode it obeys, and finally, the fierce criticism that contains implicit determinisms, the symbolic domination and the taxing ritualism.

Resumo

Abstract

This article focuses on the work of the avant-garde artist Flávio de Carvalho that was seen at the time as one of the possible ways to build another kind of modernism and that is at the core of this present study: a different kind of modernism that would be more cosmopolitan, more inconvenient and more libertarian than that which corresponded to the consensual and cliquish ideas found in Brazilian Modernism tout court. I carry out, on the one hand, an evaluative analysis of the specificities and the contributions of this São Paulo artist’s unorthodox and (self) questioning Experiência nº 2 (1931), at the crossroads of different art forms, generic hybridization and the performance acts that it generates. On the other hand, I also examine the cultural encyclopaedia of the psychological and anthropological pensum that lies behind this experiential action-test, the Dadaist, expressionist and surrealist plastic- interventionist mode it obeys, and finally, the fierce criticism that contains implicit determinisms, the symbolic domination and the taxing ritualism.

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