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| Revista Klaxon | |
|---|---|
| Title | Revista Klaxon |
| Language | Portuguese |
| Country | Brazil |
| Firstdate | 1922 |
| Finaldate | 1923 |
| Frequency | Irregular |
| Founder | Mário de Andrade, Oswald de Andrade |
| Based | São Paulo |
Revista Klaxon
Revista Klaxon was a short-lived modernist literary magazine published in São Paulo in 1922–1923 that played a central role in the Brazilian Modernist movement. The periodical acted as a nexus connecting avant-garde circles around the Semana de Arte Moderna with literary, artistic, and intellectual networks across Latin America and Europe. Its pages featured experimental poetry, manifestos, visual art, and polemical essays that engaged with contemporary debates mobilized by figures associated with Semana de Arte Moderna (1922), Mário de Andrade, Oswald de Andrade, Tarsila do Amaral, Anita Malfatti, and institutions such as the Pinacoteca do Estado de São Paulo and the Museu de Arte de São Paulo (MASP).
The magazine emerged in the aftermath of the Semana de Arte Moderna (1922) and amid cultural ferment involving the Modernismo (Brazilian movement), the Anthropophagist movement, and the broader transatlantic avant-garde that included ties to Futurism, Dada, and Surrealism. Editorial decisions reflected debates sparked by artists linked to the Escola de Belas Artes (São Paulo), critics allied with the Revista de Antropofagia circle, and poets connected to the Academia Brasileira de Letras. Public controversies over exhibitions at venues like the Galeria de Arte and polemics involving personalities such as Monteiro Lobato, Menotti del Picchia, and Guilherme de Almeida shaped the magazine’s trajectory. Its discontinuation coincided with shifting networks that also encompassed connections to the Semana de Arte Moderna (1922) aftermath and the reconfiguration of modernist print culture in cities like Rio de Janeiro and São Paulo.
Founders included leading modernists from São Paulo’s intellectual milieu, notably Mário de Andrade and Oswald de Andrade, who coordinated collaborators drawn from literary circles around the Pinacoteca do Estado de São Paulo and the Escola de Belas Artes (São Paulo). The editorial board convened writers, painters, and critics with affiliations to the Casa Modernista gatherings, contributors from the Revista de Antropofagia and contacts at the Universidade de São Paulo precursor institutions. Visual editors engaged artists such as Tarsila do Amaral and Anita Malfatti, while literary editors included poets and essayists linked to Manuel Bandeira, Guilherme de Almeida, Mário de Sá-Carneiro, and exchange networks reaching figures in Buenos Aires, Lisbon, Paris, and Madrid.
Content combined manifestos, original poetry, short fiction, polemical essays, visual reproductions, and theatrical notes responding to performances at venues like the Teatro Municipal (São Paulo) and references to events such as the Semana de Arte Moderna (1922). Recurring themes included critiques of academic curricula at institutions like the Escola de Belas Artes (Rio de Janeiro), explorations of national identity in dialogue with the Anthropophagist movement, urban modernity as seen in coverage of Avenida Paulista transformations, and experiments in form resonant with Futurism, Cubism, and Surrealism. The magazine published translations and allusions to works by Guillaume Apollinaire, Filippo Tommaso Marinetti, Ezra Pound, James Joyce, Marcel Duchamp, and exchanges that referenced journals such as Der Sturm, Lacerba, and Littérature.
Contributors ranged from central modernists like Mário de Andrade, Oswald de Andrade, Manuel Bandeira, Guilherme de Almeida, Tarsila do Amaral, Anita Malfatti, and Menotti del Picchia to younger or international voices with ties to Xavier Villaurrutia, Leopoldo Marechal, César Vallejo, Jorge Luis Borges, Pablo Neruda, Vicente Huidobro, Hilda Hilst, and translators working with texts by Paul Valéry and André Breton. The magazine influenced subsequent periodicals such as Revista de Antropofagia, Estética, and regional reviews in Rio de Janeiro and Recife, while contributing to curricula debates at institutions linked to the Universidade de São Paulo and shaping the reputations of artists represented later at the Museu de Arte de São Paulo (MASP) and the Pinacoteca do Estado de São Paulo.
Initial reception mixed acclaim from modernist circles with criticism from conservative cultural elites including voices associated with the Academia Brasileira de Letras and regional press in São Paulo and Rio de Janeiro. Over decades the magazine became a touchstone in historiographies of Brazilian Modernism cited in studies of Modernismo (Brazilian movement), surveys of Latin American avant-garde, and exhibitions at institutions like the Museu de Arte Moderna (São Paulo) and the Fundação Bienal de São Paulo. Its legacy is evident in anthologies of twentieth-century Brazilian literature, retrospectives that pair works by Tarsila do Amaral and Anita Malfatti, and scholarly reassessments appearing in journals affiliated with universities such as the Universidade de São Paulo and the Universidade Federal do Rio de Janeiro.
Surviving issues are held in collections at major Brazilian repositories including the Biblioteca Nacional do Brasil, the Pinacoteca do Estado de São Paulo, the Arquivo Público do Estado de São Paulo, and university libraries at the Universidade de São Paulo and the Universidade Federal do Rio de Janeiro. Reproductions and facsimiles appear in exhibition catalogues from the Museu de Arte de São Paulo (MASP) and curated selections in anthologies issued by publishers linked to cultural institutions such as the Fundação Getulio Vargas and academic presses at the Universidade de São Paulo.
Category:Brazilian magazines Category:Portuguese-language magazines Category:Modernism in Brazil