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| Poesia Concretista | |
|---|---|
| Name | Poesia Concretista |
| Country | Brazil |
| Year | 1950s |
| Genres | Concrete poetry, visual poetry |
| Notable authors | Haroldo de Campos, Augusto de Campos, Décio Pignatari |
Poesia Concretista
Poesia Concretista emerged in mid-20th century Brazil as an avant-garde movement intersecting with Concrete poetry, Concrete art, Constructivism, and international modernist currents associated with Futurism, Dada, Cubism, Surrealism, and Bauhaus. It developed amid cultural debates involving São Paulo, Rio de Janeiro, Universidade de São Paulo, the Semana de Arte Moderna (1922), and institutions such as the Museu de Arte de São Paulo (MASP), reflecting dialogues with figures like Mário de Andrade, Oswald de Andrade, Tarsila do Amaral, and Aloísio Magalhães.
Poesia Concretista crystallized in the 1950s through collaborations among intellectuals linked to Universidade de São Paulo, editorial projects at Noigandres, and exhibitions at venues including Instituto de Arte Contemporânea and Museu de Arte Moderna do Rio de Janeiro. Key antecedents included translations and debates around Ezra Pound, T. S. Eliot, W. H. Auden, Paul Valéry, Stéphane Mallarmé, Filippo Tommaso Marinetti, and Kurt Schwitters, while local precursors involved Mário de Andrade, Manuel Bandeira, and Carlos Drummond de Andrade. The movement interacted with visual artists such as Lygia Clark, Hélio Oiticica, Wesley Duke Lee, Ivan Serpa, and critics from Revista de Antropofagia and Revista do Brasil. International exchanges connected it to groups like Noigandres (São Paulo group), Lettrism, Fluxus, Gruppo 70, and galleries in Paris, London, New York, and Buenos Aires.
Poesia Concretista emphasized spatial arrangement, typographic experimentation, and the materiality of language, informed by theoretical interventions from Haroldo de Campos, Augusto de Campos, Décio Pignatari, and translations of James Joyce, Vladimir Mayakovsky, Paul Celan, Ezra Pound, and Tristan Tzara. Poets employed techniques paralleling Concrete art practices of Max Bill, Theo van Doesburg, Piet Mondrian, and Kazimir Malevich: grid composition, modular units, fragmentation, and simultaneity. The movement drew on semiotic frameworks associated with Ferdinand de Saussure, Roman Jakobson, and Noam Chomsky while referencing typographers and designers such as Jan Tschichold, Herbert Bayer, Adrian Frutiger, and Émile-Jacques Ruhlmann for layout experiments. Works often paralleled musical structures from Igor Stravinsky, Arnold Schoenberg, Olivier Messiaen, and John Cage, and cinematic montage strategies of Sergei Eisenstein and Dziga Vertov.
Central figures included Haroldo de Campos, Augusto de Campos, Décio Pignatari, alongside contributors such as Clarice Lispector, Oswald de Andrade, Manuel Bandeira, Mário Faustino, Waly Salomão, Chacal, Cacaso, Gilda de Mello e Souza, Ruth Rocha, André Gorz, Henfil, Afonso Arinos de Melo Franco, Guilherme de Almeida, José Lino Grünewald, Fabrício Carpinejar, Leda Maria Martins, Eugênio de Andrade, Nísia Floresta, Carlos Drummond de Andrade, Paulo Leminski, Ney Matogrosso, Mário de Andrade (writer), Ariano Suassuna, and Adélia Prado. Movements and groups contemporaneous or influential included Noigandres (São Paulo group), Concretism (Brazilian movement), Neo-Concrete Movement, Tropicália, Modernismo (Brazil), and international counterparts like Lettrism, Fluxus, Concrete poetry (United Kingdom), American Concrete poetry, Argentine avant-garde, and Gruppo 70.
Seminal publications and manifestos appeared in journals and books such as the Noigandres pamphlets, the anthology Poesia Experimental Brasileira, issues of Revista Invenção, Revista Noeme, and exhibitions cataloged by Museu de Arte Moderna do Rio de Janeiro. Key texts included manifestos and poems by Haroldo de Campos, Augusto de Campos, and Décio Pignatari, plus cross-genre works involving translations of James Joyce and Paul Valéry. Publications appeared through presses and editors including Editora Perspectiva, Editora Cultrix, Editora José Olympio, EDUSP, and magazines like Papéis Avulsos de Literatura Brasileira, Suplemento Literário, Veja, O Estado de S. Paulo, Jornal do Brasil, and Folha de S.Paulo. Exhibited works intersected with visual art shows at Museu de Arte de São Paulo (MASP), Museu de Arte Moderna do Rio de Janeiro, Bienal de São Paulo, and international venues such as Tate Modern, Museum of Modern Art, Centre Pompidou, Museo Nacional de Bellas Artes (Buenos Aires), and Guggenheim Museum.
Poesia Concretista influenced later developments in Brazilian literature and international poetics, resonating with Tropicália, Concrete art, Neo-Concrete Movement, Visual poetry (Italy), Sound poetry, Performance art, and pedagogy at Universidade de São Paulo and Universidade Federal do Rio de Janeiro. Its echoes appear in practices by artists and writers associated with Lygia Clark, Hélio Oiticica, Cildo Meireles, Tunga, Lygia Pape, Adriano Espaillat, Rosa Alice Branco, and translators working on Haroldo de Campos in institutions like University of Oxford, Harvard University, Yale University, Universidade Estadual de Campinas (UNICAMP), and King's College London. The movement informed debates in literary theory referencing Mikhail Bakhtin, Jacques Derrida, Roland Barthes, Michel Foucault, and Gilles Deleuze and influenced curatorial practices at Bienal de São Paulo and public programs at Pinacoteca do Estado de São Paulo.
Critiques and receptions ranged across Brazilian newspapers and international reviews in outlets such as Folha de S.Paulo, Jornal do Brasil, The New York Times, Le Monde, The Guardian, Die Zeit, and scholarly discussion in journals like Comparative Literature, Modern Language Review, Revista de Estudos Literários, and Luso-Brazilian Review. Debates engaged critics and theorists including Harold Bloom, Raymond Williams, Northrop Frye, George Steiner, Susan Sontag, Eduardo Viveiros de Castro, and Sérgio Buarque de Holanda on topics of readability, cultural nationalism, and avant-garde politics. Institutional responses ranged from acquisitions by Museu de Arte de São Paulo (MASP) and Museu de Arte Moderna do Rio de Janeiro to curricular inclusion at Universidade de São Paulo and controversy in public funding overseen by bodies like Ministério da Cultura.
Category:Brazilian poetry