Da fotografia como arte à arte como fotografia: a experiência do Museu de Arte Contemporânea da USP na década de 1970

Este ensaio visa sistematizar os primeiros resultados de uma pesquisa, ainda em curso, sobre o processo de legitimação da fotografia pelo sistema de arte no Brasil, cujo foco principal é o museu. Os museus de arte da cidade de São Paulo foram escolhidos para dar início a essa investigação. Primeiramente, será abordada, em linhas gerais, a presença da fotografia no Museu de Arte Moderna de São Paulo e na Bienal de São Paulo, dada a vinculação de origem do Museu de Arte Contemporânea com essas duas instituições paulistanas. Na seqüência será analisada a formação do acervo fotográfico do Museu de Arte Contemporânea da Universidade de São Paulo durante a década de 1970. Por fim, esse percurso permitirá observar que a atuação de Walter Zanini, o primeiro diretor do Museu, e as particularidades da posição do MAC-USP no sistema de arte no Brasil naquele período resultaram no entendimento da fotografia prioritariamente no âmbito da arte contemporânea de caráter experimental e não como obra de arte autônoma, segundo os princípios da chamada fotografia artística.This article presents the first findings of a research still under development about the process of legitimation of photography as a kind of art by the artistic scene in Brazil. The art museums of the city of São Paulo were chosen for starting that research. Initially, we will be investigating the presence of photography at the Contemporary Art Museum of São Paulo and at the Biennial of São Paulo, as the origin of the Contemporary Art Museum is tided to those two institutions. Following, the arrangement of the photographic technical reserve of the Contemporary Art Museum in the 1970s will be analyzed. This study will be focusing on the work of Walter Zanini, as the first director of the museum, and on the particularities of MAC-USP position in the art system in Brazil which resulted in the understanding of photography as belonging to the sphere of contemporary art in an experimental way and not as an autonomous work of art, according to the principals of the so called artistic photography

Video Art in the Federal Republic of Germany

Herzogenrath examines the development and current state of video art in the Federal Republic of Germany. The author analyses video in relation to television and the possibility of audience participation, looks at artists' early use of and approaches to the medium, and critiques museums' and television corporations' support of video. 15 bibl. ref

Video-Skulptur : Retrospektiv und Aktuell, 1963-1989

Five essays (in German) provide an analysis of the origins and development of video sculpture from 1963 to 1989. A dictionary of artists includes a description of their video-installations and biographical notes. Bibl. 3 p

German Video and Performance

Herzogenrath outlines the early history of video art in Germany, the consequences of the lack of support for video, and the influence of European history and art history in the artists' work. The artists' video and performance works are presented through essays, descriptions and photographs. Biographical notes

Julian Opie

Engaging in a discussion of Opie's predominantly sculptural works, five authors contribute texts that focus on the work's relationship to architecture and examine issues such as the deconstruction of modernist transparency and the use of the architectural model. The artist's working principles and approach to the production of "generic objects" are delineated. Biographical notes. Bibl. 3 p