A montagem como técnica e possibilidade de crítica à modernidade
O painel Eu vi o mundo… ele começava no Recife
Bibliographic Data
| ID | 5916009 |
|---|---|
| Authors | Ana Carolina De Freitas Trindade (0000-0002-8565-5369), Fernando Diniz Moreira (0000-0002-1387-4036) |
| Year | 2025 |
| Volume | 15 |
| Issue | 33 |
| Pages | 461-485 |
| Publication date | 2025-01-31 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | PÓS Revista do Programa de Pós-graduação em Artes da EBA/UFMG (JOURNAL) |
| Journal identifiers | ISSN: 1982-9507 • E-ISSN: 2238-2046 |
| Publisher | Universidade Federal de Minas Gerais - Pro-Reitoria de Pesquisa (PUBLISHER) |
| DOI | 10.35699/2238-2046.2025.54189 |
| OpenAlex | W4409331920 |
| Language | PT |
| References cited | 4 |
The panel I Saw the World... It Began in Recife (1926-29) is a significant milestone in the history of Brazilian modern art, not only for having inaugurated the Revolutionary Salon of 1931 but also for presenting various facets of a world that Cícero Dias considered modern. This was achieved through the union - montage - of fragments collected from his daily life or narrated by others. It encompasses the lights, colors, and forms of the Northeastern countryside, sugarcane mills, manor houses and slave quarters, the sea and townhouses of Recife, and aristocratic and popular traditions that Dias represented his world. This article aims to analyze this work through the strategy of montage, a technique associated with artistic avant-gardes, as a critical possibility to think about the images of modernity as suggested by Walter Benjamin
Art · Humanities · Brazilian cultural history and politics · Diverse academic and cultural studies · History, Culture, and Society
| Citation velocity | historical |
|---|---|
| Highly cited | No |