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| Klaxon (revista) | |
|---|---|
| Title | Klaxon |
| Category | Literature |
| Frequency | Irregular |
| Firstdate | 1922 |
| Finaldate | 1922 |
| Country | Brazil |
| Language | Portuguese |
Klaxon (revista) was a short-lived Brazilian avant-garde magazine published in 1922 that played a pivotal role in the Modernist movement in São Paulo, Brazil. Conceived in the context of the Semana de Arte Moderna (1922), the magazine connected writers, artists, and intellectuals associated with Mário de Andrade, Oswald de Andrade, Anita Malfatti, and Tarsila do Amaral. Klaxon functioned as both a platform and a manifesto, linking local publishing efforts to broader currents present in Paris, Milan, Barcelona, and New York.
Founded in 1922 amid the cultural ferment surrounding the Semana de Arte Moderna (1922), Klaxon emerged from collaborations among figures tied to the Grupo dos Cinco (Brazil), the Grupo Modernista, and sympathizers of Futurism and Cubism. Its single-year run coincided with international debates including Dada, Surrealism, and the aftermath of the Russian Revolution on avant-garde aesthetics. The magazine's production drew on networks spanning São Paulo, Rio de Janeiro, and expatriate communities in Paris and Lisbon. Key meetings that influenced Klaxon included salons reminiscent of those around Gertrude Stein, correspondence with proponents in Madrid and Berlin, and exhibition ties to institutions like the Pinacoteca do Estado de São Paulo.
Klaxon articulated an editorial line anchored in Brazilian Modernism and experimental poetics associated with figures such as Mário de Andrade, Oswald de Andrade, Manuel Bandeira, Guilherme de Almeida, and Cassiano Ricardo. Visual contributors and allies included Tarsila do Amaral, Anita Malfatti, and artists linked to the Semana de Arte Moderna (1922). The editorial collective maintained exchanges with intellectuals and artists across Europe and the Americas, referencing movements around Pablo Picasso, Fernand Léger, Alberto Giacometti, and Wassily Kandinsky. Contributors’ networks extended to printers, galleries, and universities such as Universidade de São Paulo affiliates and critics associated with journals akin to Lacerba and Der Sturm.
Klaxon published poetry, manifestos, visual work, and polemical essays foregrounding renewal in language and form, aligning with debates in Futurism, Dada, and Surrealism. Texts engaged with national identity dialogues touching on regions like Bahia, Minas Gerais, and Pernambuco while conversing with international texts by authors linked to Guillaume Apollinaire, Ezra Pound, T. S. Eliot, and Federico García Lorca. The magazine explored urban modernity as seen in São Paulo’s rapid growth, industrial expansion near Porto de Santos, and the cultural implications of migration from Europe and Japan. Visual pages displayed influences from Cubism, Expressionism, and Brazilian primitivist tendencies echoed in works by artists who later exhibited alongside names such as Diego Rivera and Frida Kahlo.
The magazine’s materiality reflected avant-garde experiments in layout, typography, and illustration reminiscent of Vorticism and the graphic innovations of publications like Blast and Merz. Klaxon combined bold type, asymmetrical composition, and photomontage techniques comparable to those used by Hannah Höch and El Lissitzky, while referencing typographic advances from Bauhaus designers. Printed in Portuguese, the single-year issues featured covers and plates showcasing artists who later participated in exhibitions at venues such as the Museu de Arte de São Paulo and private galleries connected to collectors like Assis Chateaubriand.
Contemporary reaction to Klaxon ranged from enthusiastic endorsement by modernist circles associated with Semana de Arte Moderna (1922) to criticism from conservative periodicals and cultural institutions in Rio de Janeiro and provincial presses in Recife and Salvador. The magazine influenced subsequent journals and movements within Brazil, inspiring periodicals with ties to Anthologia Poética efforts, later iterations of Modernismo (Brazilian literary movement), and younger poets who studied works by Carlos Drummond de Andrade and João Cabral de Melo Neto. Internationally, Klaxon entered scholarly conversations about transatlantic modernism alongside publications like Der Sturm, Lacerba, and La Révolution surréaliste.
Although short-lived, Klaxon’s legacy endures through archival holdings and reproductions in collections at institutions such as the Biblioteca Nacional do Brasil, the Pinacoteca do Estado de São Paulo, and university libraries linked to Universidade Federal do Rio de Janeiro and Universidade de São Paulo. Researchers trace Klaxon’s pages in exhibitions on Modernism, retrospectives of artists like Tarsila do Amaral and Anita Malfatti, and in comparative studies involving European avant-garde journals. The magazine is regularly cited in historiographies of Brazilian literature and art alongside canonical events like the Semana de Arte Moderna (1922) and movements associated with Antropofagia (Cannibalist Manifesto), maintaining presence in curricula, museum catalogues, and digitized special collections.
Category:Brazilian magazines Category:Modernist magazines Category:1922 establishments in Brazil Category:1922 disestablishments in Brazil