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From concretism to the amusement park? The course of technological art in the Brazilian artistic field

Grant number: 17/13635-5
Support Opportunities:Scholarships in Brazil - Post-Doctoral
Effective date (Start): November 01, 2017
Effective date (End): February 28, 2022
Field of knowledge:Humanities - Sociology - Other specific Sociologies
Principal Investigator:Sergio Miceli Pessoa de Barros
Grantee:German Alfonso Nunez Canabal Junior
Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil
Associated scholarship(s):19/00626-3 - The American influence in the development of Brazilian technological art, BE.EP.PD


Emerging in northern hemisphere in the mid-sixties, technological art proposes the artistic use of new information technology that rises in the post-war period. Usually centred over digital computers, by the end of that decade this art surges in Brazil through the efforts of São Paulo concrete artists. Witness of the privileged position of its first proponents, this Brazilian technological art quickly comes to light in Biennales, museums and on articles arranged between the seventies and eighties. Seen by some of these poets and artists as a normative development signalling a future art, by the beginning of the twentieth century its situation was very different. Via petitions and mobilizations, these producers were now publically organizing themselves with the intention of salvaging an art that, from their point of view, was unjustly forgotten and excluded from both the artistic field and State funding sources. Consequentially, if we take its original position into consideration, what were the reasons for such a drop in legitimacy? Following the dilemma caused by this displacement, here we intend to investigate this genre under the light of Bourdieu's science of cultural works. Here we aim a research that, following the model proposed by the French sociologist, investigates the three levels of social reality that our problem unveils: regarding the genre's position and evolution within the structures of power, the internal disputes of the artistic field that result in the subjugation of technological art and, finally, the condition of agents which today claim to represent the genre.

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