Table Of ContentD
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Illustrations http
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coLor PLates (after page 78) ks/b
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1. Andy Warhol, Red Race Riot (1963) k/ch
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2. Antonio Manuel, Repressão outra vez—Eis o saldo te
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(Repression Again—Here Is the Consequence) (1968) df/6
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3. Claudio Tozzi, Guevara, vivo ou morto (Guevara, Dead 08
1
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or Alive) (1967) /9
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4. Nelson Leirner, O porco (The Pig) (1967) 08
2
2
5. Hélio Oiticica, Caetano Veloso veste Parangolé P4 capa 1 39
4
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(Caetano Veloso Wears Parangole P4 Capa 1) (1968) 38
6. Antonio Manuel, Soy loco por ti (I Am Crazy for You) -ix.p
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(1969) f by U
7. Artur Barrio, Situação . . . ORHHH . . . ou . . . 5.000 . . . NIV
E
T.E . . . EM . . . N.Y . . . City . . . 1969 (Situation . . . RS
IT
ORHHH . . . or . . . 5.000 . . . T.E . . . IN . . . N.Y . . . Y C
O
Street . . . 1969) (1969) L
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8. Artur Barrio, P. . . . . . H. . . . . (1969) GE
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9. Artur Barrio, Situação. . . . . . . .T/T1. . . . . . O
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(Situation. . . . . . . .T/T1. . . . . .) (1970) O
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10. Artur Barrio, Situação. . . . . . . .T/T1. . . . . se
(Situation. . . . . . . .T/T1. . . . . .) (1970) r on
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11. Hélio Oiticica, Banner “Seja marginal, seja herói” M
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(Be an Outlaw, Be a Hero) (1968) rch
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12. Carlos Zilio, Lute (marmita) (Fight [Lunchbox]) (1967) 2
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13. Artur Barrio, Situação . . . ORHHH . . . ou . . . 5.000 . . . T.E . . . EM . . . N.Y . . .
City . . . 1969 (Situation . . . ORHHH . . . or . . . 5.000 . . . T.E . . . IN . . . N.Y . . .
Street . . . 1969) (1969)
14. Cildo Meireles, Inserções em circuitos ideológicos: Projeto Coca- Cola (Insertions
into Ideological Circuits: Coca- Cola Project) (1970)
15. Cildo Meireles, Inserções em circuitos ideológicos: Projeto Cédula (Insertions into
D
Ideological Circuits: Banknote Project) (1970) ow
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16. Antonio Manuel, On the Hand (2006) loa
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Figures http
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1. Cover of dossier “Non à la Biennale de São Paulo” (1969) 11 a
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2. Max Bill, Unidade Tripartite (1948–49) 13 uke
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3. Evandro Teixeira, A queda do motociclista da FAB (The Fall of the FAB pre
Motorcyclist) (1965) 22 ss.e
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4. Antonio Manuel, O corpo é a obra (The Body Is the Work) (1970) 39 /b
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5. Vito Acconci, Conversions III (Association, Assistance, Dependence) (1971) 43 ks/b
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6. Antonio Manuel, Corpobra (Bodywork) (1970) 47 ok/ch
7. Antonio Manuel, Corpobra (Bodywork) (1970) 47 a
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8. Robert Morris, I- Box (1962) 48 r-p
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9. Hélio Oiticica, Tropicália, Penetráveis PN2, PN3 (Tropicália, Penetrables PN2 f/6
7
0
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and PN3) (1967) 53 1
8
/9
10. Hélio Oiticica, Tropicália, Penetráveis PN2, PN3 (Tropicália, Penetrables PN2 78
0
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and PN3) (1967) 53 22
3
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11. Lygia Pape, O ovo (The Egg) (1967) 55 49
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12. Antonio Manuel, Urna quente (Hot Ballot Box) (1975) 56 -ix.p
13. Still from 16mm footage of Antonio Manuel’s Urnas quentes (Hot Ballot df b
Boxes) (1968), performed at Aterro do Flamengo, Rio de Janeiro, 1968. y U
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Directed by Raimundo Amado 56 IVE
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14. Hélio Oiticica and Antonio Manuel, Parangolé P22 capa 18 “Nirvana” IT
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(Parangole P22 Cape 18 “Nirvana”) (1968) 58 CO
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15. Antonio Manuel, Soy loco por ti (I Am Crazy for You) (1969) 61 LE
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16. Antonio Manuel, Untitled (1966) 65 L
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17. Antonio Manuel, A imagem da violência (The Image of Violence) (1968), from ND
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the series Flans 66 N u
18. Antonio Manuel, As armas do diálogo (The Weapons of Dialogue) (1968), from ser o
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the series Flans 66 05
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19. Antonio Manuel, Wanted Rose Selavy (1975), from the series Flans 68 a
rch
20. Antonio Manuel, A arma fálica (The Phallic Weapon) (1970) 69 2
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21. Antonio Manuel, A arma fálica (The Phallic Weapon) (1970) 69 2
x ILLUSTRATIONS
22. Antonio Manuel, Clandestinas (Clandestines) (1973) 70
23. Tucumán Arde (Tucuman is Burning) (1968) 73
24. Antonio Manuel, O bode (The Goat) (1973) 74
25. Antonio Manuel, Exposição de Antonio Manuel—De 0 à 24 Horas (Exhibition
of Antonio Manuel—From 0 to 24 Hours), published in O Jornal, 15 July
1973 76
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26. Antonio Manuel, Exposição de Antonio Manuel—De 0 à 24 Horas (Exhibition ow
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of Antonio Manuel—From 0 to 24 Hours), published in O Jornal, 15 July loa
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1973 76 d fro
27. Artur Barrio, CadernoLivro (1968–69) 81 m h
28. Artur Barrio, CadernoLivro (1973) 81 ttp://re
29. Artur Barrio, Situação . . . ORHHH . . . ou . . . 5.000 . . . T.E . . . EM . . . N.Y . . . ad
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City . . . 1969 (Situation . . . ORHHH . . . or . . . 5,000 . . . T.E . . . IN . . . N.Y . . . uke
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City . . . 1969) (1969). Installation view at Museu de Arte Moderna do Rio de pre
Janeiro 86 ss.e
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30. Artur Barrio, Situação . . . ORHHH . . . ou . . . 5.000 . . . T.E . . . EM . . . N.Y . . . /bo
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City . . . 1969 (Situation . . . ORHHH . . . or . . . 5,000 . . . T.E . . . IN . . . N.Y . . . ks/b
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City . . . 1969) (1969). Installation view at Museu de Arte Moderna do Rio de ok/ch
Janeiro 87 ap
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31. Artur Barrio, Defl . . . Situação . . . +S+ . . . RUAS (Defl . . . Situation . . . +S+ . . . r-p
d
STREETS) (April 1970) 88 f/67
0
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32. Artur Barrio, Defl . . . Situação . . . +S+ . . . RUAS (Defl . . . Situation . . . +S+ . . . 18
/9
STREETS) (April 1970) 88 78
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33. Piero Manzoni, Merda d’artista. no. 31 (Artist’s Shit, no. 31) (1961). Musée 22
3
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National d’Art Moderne, Centre Georges Pompidou, Paris 89 49
3
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34. A crowd gathers around Artur Barrio’s Situação. . . . . . . .T/T1. . . . . . . -ix.p
(Situation. . . . . . . . T/T1. . . . . .), at Municipal Park at Belo Horizonte, Minas df b
Gerais (April 1970) 90 y U
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35. Jean Fautrier, Tête d’otage no. 21 (Hostage Head no. 21) (1945). Musée National E
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d’Art Moderne, Centre Georges Pompidou, Paris 91 IT
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36. Luiz Alphonsus Guimarães, Napalm (1970) 93 CO
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37. Hélio Oiticica, B33 Bólide caixa 18, Poema caixa 02—“Homenagem a Cara E
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de Cavalo” (B33 Box Bolide 18, Box Poem 02—“Homage to Horse Face”) L
O
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(1966) 95 D
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38. Carlos Zilio, Para um jovem de brilhante futuro (For a Young Man of Brilliant u
se
Prospects) (1973) 105 r o
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39. Artur Barrio, Trouxa protótipo (Prototype Bundle) (1969) 107 05
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40. Robert Smithson, Spiral Jetty (1970). Long- term installation at Rozel Point, arch
Box Elder County, Utah 110 20
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41. Cildo Meireles, Cruzeiro do Sul (Southern Cross) (1969–70) 116
ILLUSTRATIONS xi
42. Cildo Meireles, Espaços virtuais: Cantos (Virtual Spaces: Corners)
(1967–68) 117
43. Cildo Meireles, Arte física: Caixas de Brasília / Clareira (Physical Art: Brasília
Boxes / Clearing) (1969) 119
44. Cildo Meireles, Arte física: Cordões / 30 km de linha estendidos (Physical Art:
Cords / 30 km of Extended Line) (1969) 120
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45. Cildo Meireles, Tiradentes: Totem- monumento ao preso político (Tiradentes: ow
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Totem- Monument to the Political Prisoner) (1970) 121 loa
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46. Cildo Meireles, Tiradentes: Totem- monumento ao preso político (Tiradentes: d fro
Totem- Monument to the Political Prisoner) (1970) 124 m h
47. Cildo Meireles, Introdução a uma nova crítica (Introduction to a New Criticism) ttp://re
(1970) 125 ad
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48. Cildo Meireles, Introdução a uma nova crítica (Introduction to a New Criticism) uke
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(1970) 125 pre
49. Cildo Meireles, Inserções em circuitos antropológicos (Insertions into ss.e
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Anthropological Circuits) (1971) 131 /bo
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50. Salão da Bússola, ficha de inscrição (Compass Salon, entry form) (1969) 134 ks/b
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51. Poster for exhibition Agnus Dei at Petite Galerie (Rio de Janeiro, 1970) ok/ch
Graphic project: Thereza Simões 136 ap
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52. Malasartes, no. 3 (April/May/June 1976) 138 r-p
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53. Cildo Meireles, Inserções em circuitos ideológicos: Projeto Cédula (Insertions into f/67
0
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Ideological Circuits: Banknote Project) (1975) 141 18
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54. Cildo Meireles, Árvore do dinheiro (Money Tree) (1969) 143 78
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55. Cildo Meireles, O Sermão da Montanha: Fiat Lux (The Sermon on the Mount: 22
3
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Fiat Lux) (1973–79). Installation view at Centro Cultural Cândido Mendes (Rio 49
3
8
de Janeiro, 1979) 144 -ix.p
56. Cildo Meireles, O Sermão da Montanha: Fiat Lux (The Sermon on the Mount: df b
Fiat Lux) (1973–79). Installation view at Centro Cultural Cândido Mendes; y U
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shown: five actors posing as bodyguards (Rio de Janeiro, 1979) 145 E
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xii ILLUSTRATIONS
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Preface and Acknowledgments http
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Growing up in Rio de Janeiro under the military regime, I experienced two 08
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parallel realities that left strong impressions on me: on the one hand, the /9
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arrest of my friends from the Federal University of Rio de Janeiro during 82
2
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the street demonstrations against the dictatorship; on the other, our gather- 94
9
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icnogusn otenr ctuhlet usaren.d Ds uorfi nIpga nmeym yae aBresa cahs ,a w jhouerren awleis wt, itmnye sisneqdu tishieti evrea n’s aetvuorlev ilnedg 8-xiii.pd
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me to learn more about this period in Brazilian history. My involvement y U
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with the visual arts as an art historian, which did not come until much later, IVE
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gave me the opportunity to bring together these two disparate realities: the IT
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reaction against the military regime and the artistic production of that time. CO
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At its core, this book is the result of my interest in both worlds and of my E
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need to reconcile them. LO
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Many people helped me along the way, and I am grateful to have the DO
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opportunity to acknowledge them. First of all, I owe a debt of gratitude to use
Frederico Morais, who granted me long and patient interviews and shared r on
0
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personal materials from his private archives, confirming that there was a M
a
fascinating story to be told about the intersection of art and politics under rch
2
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the Brazilian dictatorship. Morais was a pivotal player during the period 22
as a curator and art critic, and during our many interviews at his home in
the bohemian neighborhood of Santa Tereza his cooperation and generosity
were invaluable.
Central to this project were the indispensable oral testimonies given by
the artists Artur Barrio, Antonio Manuel, and Cildo Meireles, whose works I
discuss in depth in this book. I thank them for sharing their life stories dur-
ing our many interviews as well as for making available visual and written D
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materials from their private archives. Their assistance was essential, and this n
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book would not have been possible without it. de
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My doctoral dissertation advisor, Katherine Manthorne, has been a great from
h
source of support and encouragement, and I owe her many thanks. In addi- ttp
tion to Professor Manthorne, the members of my dissertation committee ://rea
d
.d
at the Graduate Center, City University of New York—Rose- Carol Washton uke
u
Long, Harriet Senie, and Edward J. Sullivan—were very helpful in providing pre
me with feedback. I would like to especially acknowledge Professor Sullivan, ss.e
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an invaluable mentor who has given me intellectual support at all times. He /bo
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introduced me to Morais and facilitated this book in many other ways. ks/b
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From the inception of this project, the journalist Elio Gaspari was instru- k/ch
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mental in supplying historical context for the political facts of the period. pte
r-p
The sociologist Carlos Altamirano helped me shape and conceptualize the df/6
7
book during our long conversations at the David Rockefeller Center for 08
1
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Latin American Studies at Harvard University. /9
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Many colleagues helped me by reading parts of the manuscript in its vari- 82
2
3
ous stages and offering constructive criticism: Alexandre Alberro, Tatiana 94
9
3
Fwliotrhe sth, Teierd o Mwno orneseeya, racnhd; oPtahuelros Vperonvaindceido oFnilghooi.n Sgo emneth fursieiansdms iannsdp iirnesdig mhte. 8-xiii.pd
f b
These include Tony Bechara, Sérgio Bessa, Holly Block, Estrellita Brodsky, y U
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Fernando Coronil, Deborah Cullen, Noni Geiger, Anna Indych-L ópez, Eliza- IVE
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S
beth Jobim, Simone Klabin, Lynda Klich, and Gabriela Rangel. IT
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I would also like to acknowledge all the artists, art critics, curators, his- CO
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torians, and art historians who agreed to be interviewed for this project; E
G
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in particular my thanks go to Dore Ashton, Waltércio Caldas, Fernando LO
N
Cocchiarali, Antonio Dias, Paulo Sérgio Duarte, Anna Bella Geiger, Rubens DO
N
Gerchman, Ferreira Gullar, Hans Haacke, Roberto Schwarz, Tunga, Carlos use
Vergara, John Womack, and Carlos Zilio. Their oral testimonies were crucial r on
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as I set about mapping the period. M
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Christopher Dunn’s stimulating book on Tropicália made me believe rch
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it was possible to write on the Brazilian counterculture movement in an 22
xiv PREFACE AND ACKNOWLEDGMENTS
academic context. His book guided me at many moments and helped to
strengthen my arguments.
My thanks go to the staff of the archives of the newspapers Jornal do
Brasil and Correio da Manhã and of Centro de Pesquisa e Documentação do
Museu de Arte Moderna do Rio de Janeiro; Centro de Documentação e Re-
ferência do Instituto Itaú Cultural, São Paulo; and the Harvard Fine Arts D
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Library and the Widener Library at Harvard University. I am deeply appre- n
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ciative of Nani Rubin for her research into O Globo’s archives; of Ariane de
d
Figueiredo, from Projeto Hélio Oiticica, Rio de Janeiro; and of Jenny Tobias from
h
at the library of the Museum of Modern Art, New York. ttp
My deepest and most sincere gratitude goes to my copyeditor, Amy ://rea
d
.d
Gordon, who guided me throughout this project, helped me define and clar- uke
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ify ideas, offered me support, and kept me going all the way through this pre
process. Her input is immeasurable; her editing, impeccable. ss.e
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I have been blessed with a publisher, Ken Wissoker at Duke University /bo
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Press, who trusted me during the early stages of this manuscript and guided ks/b
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me until its end; he has shown me the true value of patience and persever- k/ch
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ance, and there is no doubt that he made this book into a much more ambi- pte
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tious and better project than I had initially envisioned. Also at Duke Univer- df/6
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sity Press, Jade Brooks, the editorial associate, and Mark A. Mastromarino, 08
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the assistant managing editor, provided valuable editorial support. /9
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I was fortunate to have received a Jorge Paulo Lemann Visiting Scholar 82
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Fellowship at the David Rockefeller Center for Latin American Studies at 94
9
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Habaoruvta,r rde Usenairvcehr,s aitnyd i ng i2v0e0 f8o–rm9, aton tohpips oprrtoujnecitty. That ea gcerunceiraols mityo mofe tnhte t ost tahffin akt 8-xiii.pd
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the center, along with the intellectual stimulation provided by my exchanges y U
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with other fellows, was critical for the development of this book. IVE
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I extend my heartfelt gratitude to the numerous individuals who lent IT
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pictures and helped me to secure image rights; the rich illustrations in the CO
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following pages are a result of their important contributions. In particular I E
G
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would like to acknowledge Marcelo Mattos Araújo, Artur Barrio, Miguel Rio LO
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Branco, Graciela Carnevale, Tadeu Chiarelli, Pedro Oswaldo Cruz, Bernardo DO
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Dasmaceno, Ariane Figueiredo, Natasha Barzaghi Geenen, Luiz Alphon- use
sus Guimarães, Nelson Leirner, Rui Moreira Leite, Antonio Manuel, Marli r on
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Matsumoto, Cildo Meireles, André Millan, Wilton Montenegro, Cristina B. M
a
Motta, Drazen Pantic, Paula Pape, Iara Pimenta, César Oiticica, Júlia Re- rch
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bouças, Daniel Roesler, Cláudio Tozzi, Carlos Zilio, and Carmen Zilio. Addi- 22
PREFACE AND ACKNOWLEDGMENTS xv
tionally, Edgar Almaguer helped me organize the images and obtain copy-
right permissions.
Special support also came from John Jay College of Criminal Justice of
the City University of New York, particularly from Provost Jane P. Bowers,
whose generous grant helped me to acquire images and copyrights. A grant
by PSC- CUNY for the reproduction of color images also provided indispens- D
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able financial help. Many thanks are also due the chair of the Department of n
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Art and Music, Lisa Farrington. Claire Montgomery, the director of Location de
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One, was also a supporter throughout this process. from
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Finally, I would like to thank my parents, Arnaldo and Loris Calirman, ttp
for a lifetime of unwavering encouragement and for instilling curiosity in ://rea
d
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me, and my sisters, Andrea and Danielle Calirman, for their reassurance and uke
u
sense of humor. I would never have been able to complete this project with- pre
out the understanding and support of my daughter, Ana Carolina Geiger. ss.e
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Without her unconditional love, this book would not exist. /bo
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I dedicate this book to Joe Friedman, who patiently kept waiting for so ks/b
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long. Joe: I do!!! k/ch
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xvi PREFACE AND ACKNOWLEDGMENTS
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Abbreviations and a Note on Translation ttp
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abbreviations 08
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ai-5 Ato Institucional #5 (Institutional Act #5) 78
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CCC Comando de Caça aos Comunistas (Command for Hunting 22
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Communists) 49
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CPC Centro Popular de Cultura -0
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doPS Departamento de Ordem Política e Social .p
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mam/rj Museu de Arte Moderna do Rio de Janeiro y U
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mam/SP Museu de Arte Moderna de São Paulo IV
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UNe União Nacional dos Estudantes RS
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a note on transLation E
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All the text and quotations originally in Portuguese have been translated into O
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English by the author, unless otherwise indicated. O
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