![]() Neo-Concretists believed that artworks were not simply static representations or forms rather “art should be like living organisms” In Lygia Clark’s theoretical statement written to address the intentions of the Neo-Concrete artists, she explains that as artists they wish to “found a new, expressive ‘space’.” This movement believed that through a direct relationship between the artwork and the viewer this “new, expressive ‘space’” could be constructed. While Concretism built its art upon the basis of logic and objective knowledge with color, space, and form conveying universalism and objectivity, the Neo-Concrete artists saw colors, space, and form as “not to this or that artistic language, but to the living and indeterminate experience of man.” Though Neo-Concrete Art still maintained Concretism as the foundation for their ideas, Neo-Concretists believed objectivity and mathematical principles alone could not accomplish the Concretist goal of creating a transcendental visual language. Neo-concrete art must disassemble the limitations of the object and “express complex human realities.” ![]() He sought works of art that became active once the viewer was involved. The Neo-Concrete Manifesto and pushback against Concretism īrazilian poet and writer Ferreira Gullar wrote the Neo-Concrete Manifesto in 1959 and described a work of art as “something which amounts to more than the sum of its constituent elements something which analysis may break down into various elements but which can only be understood phenomenologically.” In contrast to the Concrete Art movement, Gullar was calling for an art that was not based upon rationalism or in pursuit of pure form. The increase of violence called for a new kind of art that had the potential to carry meaning and deconstruct traditional thought even further. Art historians often refer to Neo-Concretism as the precursor to Conceptual Art because of the foundation of “abstruse metaphysics.” On April 1, 1964, a military coup removed Joao Goulart and established a military government in Brazil until 1985. Lygia Clark and Hélio Oiticica, leaders of the Neo-Concrete movement, put their energy into Conceptual Art. In 1961 as the political tides began to turn, the Neo-Concrete artists disbanded no longer content to limit themselves to this one philosophy. The Neo-Concrete art movement arose when Grupo Frente realized that Concretism was “naïve and somewhat colonialist” and an “overly rational conception of abstract structure.” Specifically Ruptura followed the ideal of pure mathematical art which does not connote meaning outside of what it is. Groups such as Grupo Ruptura in Sao Paulo and Grupo Frente in Rio de Janeiro rose. ![]() The period from 1946 to 1964 is known as the Second Brazilian Republic. In Brazil, ideas of rationalist art and geometric abstraction arose in the early 1950s following the establishment of a democratic republic in 1946. Under repressive Latin American governments, artists rebelled against the idea of aiding the political regime through figurative art therefore geometric abstraction and concretism ushered in an art that did not connote anything political or have really any meaning at all.Ĭoncrete Art was able to flourish beneath these repressive regimes because it held no political messages or incendiary material. Governments such as the Mexican government utilized muralists to create propaganda. In Latin America, ideas of rationalist and non-objective art took root in the early 1950s in reaction to the muralism controversy. Artists believed humanity would be able to achieve progress through its ability to reason. ![]() Lygia Clark, Hélio Oiticica, and Lygia Pape were among the primary leaders of this movement.Īfter World War I, Europe witnessed a boom of art movements based upon rationalism such as De Stijl and Bauhaus. Ferreira Gullar inspired Neo-Concrete philosophy through his essay “Theory of the Non-Object” (1959) and wrote the “Neo-Concrete Manifesto” (1959) which outlines what Neo-Concrete art should be. They rejected the pure rationalist approach of concrete art and embraced a more phenomenological and less scientific art. The Neo-Concretes emerged from Rio de Janeiro’s Grupo Frente. The Neo-Concrete Movement (1959–61) was a Brazilian art movement, a group that splintered off from the larger Concrete Art movement prevalent in Latin America and in other parts of the world. ![]()
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