Construção, desconstrução: o legado do neoconcretismo

Para os artistas ligados ao neoconcretismo brasileiro, a experiência construtiva resultaria do gesto extremo de passar a limpo e retomar em novo patamar as promessas extraviadas das vanguardas do construtivismo europeu, gesto, ao ver desses artistas, tantas vezes postergado na arte europeia e norte-americana da primeira metade do século XX.<br>For the artists of Brazilian neoconcretismo, the constructive experience should result naturally from the extreme gesture of reconsidering and reappropriating in a new manner the lost promises of European constructivist avant-gardes, a gesture that, in the view of these artists, had been oftenly postponed in European and North American 20th century art

Insertions into Historiographic Circuits

This article establishes the context for the original publication of Ronaldo Brito's pioneering 1975 essay, “Neo-concretism Apex and Rupture of the Brazilian Constructive Project” in the third and last issue of the Rio de Janeiro-based art journal Malasartes. It argues that Brito's text was a concerted effort to intervene within the determining logic of what the author and others termed “the circuit,” that is, the conjunction of protagonists, operations, and effects that produce and reproduce “the art world.” In this sense, Brito's essay was nothing less than a discursive rejoinder to the provocation of Cildo Meireles's seminal conceptual work Insertions Into Ideological Circuits (1970–75), likewise published in Malasartes. Brito not only provided the first political and structural analysis of the Neo-concrete movement as a localized response to a transnational field of constructive practices, he advanced a model of critical art history that realigned theoretical production with ideological critique