This essay was the result of a conference held at Tate Gallery Liverpool, that ran in conjunction with an exhibition curated by Simon Wallis that focused on current practices in painting that could be described formally, historically or conceptually as hybrid. My essay developed the conference paper analysing the history of the term, its problematic use within the field of contemporary art, alternatives to it such as that of syncretism, and how such issues relate to the development of painting within Brazilian art during the 20th century.
It begins with the analysis of the 1920s search for a national modern art that would culminate in the development of the notion of Anthropophagy – a critical digestion of the culture of the other. Here a parallel is suggested between this process and the concurrent Rappel à l’Ordre wave of nationalist and classicist ‘purification’ of the cubist legacy.
The essay later discusses the distinct context of the 1960s when in Brazil Anthropophagy re-emerged as a powerful cultural currency faced with the advent of North American mass culture and the collapse of the national utopian constructivist ideals. The essay concludes with the unmasking of a centain Eurocentric view of contemporary art produced in Brazil, via an analysis of the painting of Beatriz Milhazes. It is argued that the surface of her pictures fools the viewer into believing his/her preconceptions of the place.
The Brazilian expression ‘For the English to see’ is evoked as the painting purports to be something it is not, in a siimilar manner in which the Portuguese fooled the British by disguising slave ships.
|Type of Research:||Book Section|
|Additional Information (Publicly available):|
|Publisher/Broadcaster/Company:||Tate Gallery Liverpool and University of Liverpool Press|
|Your affiliations with UAL:||Colleges > Chelsea College of Art and Design|
|Deposited By:||INVALID USER|
|Deposited On:||07 Dec 2009 12:50|
|Last Modified:||30 Mar 2010 11:57|