Abstract

Neoconcretism was an international pioneer of ‘interdisciplinarity’, since its crossings of mediums and disciplines created original versions of participatory art, performance, installation art, process art, institutional critique, body art and environmental art. However, we must question whether this statement is valid throughout its history. Thus, this article investigates the First Neoconcrete Exhibition – through the detailed analysis of the works presented in the exhibition, the positions taken in the catalogue and in the Neoconcrete Manifesto, and the debates in the national press – revealing the preponderant defence of art’s autonomy, which formalises an early modernist identity for the movement that contrasts with its legacy to contemporary Brazilian art. Eventually, the transition from this ideological position to the contemporary practice of interdisciplinarity was made possible by Ferreira Gullar’s art criticism, which was based on Ernst Cassirer’s notion of ‘symbol’, whose intrinsic relativism liberated him to positively receive new proposals.

摘要

新具体主义是“跨学科”的国际先驱，因为它跨媒介和学科创造了参与式艺术、表演、装置艺术、过程艺术、制度批判、人体艺术和环境艺术的原始版本。但是，我们必须质疑这种说法在其历史上是否有效。因此，本文考察了首届新混凝土展– 通过对展览中展示的作品的详细分析、在目录和新混凝土宣言中所采取的立场，以及国家媒体的辩论 – 揭示了对艺术自主性的主要捍卫，这使该运动的早期现代主义身份正式化这与其对当代巴西艺术的遗产形成鲜明对比。最终，费雷拉·古拉尔的艺术批评使从这种意识形态立场到当代跨学科实践的转变成为可能，该批评基于恩斯特·卡西尔的“符号”概念，其内在的相对主义解放了他，使他能够积极接受新的建议。