Critical-Sentimental trip to the 10th São Paulo Biennial and other Editions
The aim of this essay is to analyze the role of the São Paulo Biennial and to portray it as one of the great cultural events in the country since its first edition in 1951. Despite this importance, its controversial face has accompanied it ever since. The 1st, 10th and 28th editions are models of im...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2021 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Pós (Universidade Federal de Minas Gerais. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/29087 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/revistapos/article/view/29087 |
| Access Level: | acceso abierto |
| Palabra clave: | Bienal de São Paulo História da Arte Arte Contemporânea Estética São Paulo Biennial Art History Aesthetics Contemporary art Historia del Arte Arte Contemporáneo |
| Sumario: | The aim of this essay is to analyze the role of the São Paulo Biennial and to portray it as one of the great cultural events in the country since its first edition in 1951. Despite this importance, its controversial face has accompanied it ever since. The 1st, 10th and 28th editions are models of importance and conflict used in this essay. The 10th, in particular, is observed through the eyes of a child spectator, and considered by him the greatest exhibition of all times, despite being the most criticized of all editions. The personal and moral dramas involving this edition are analyzed, as well as the unique aesthetic experience lived by the child fruitor, the main character of this analysis. |
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