The discussion of the aesthetics of the avant-gardes
needs to be considered as a global issue, even though its representation
differs with each country of origin. This paper will discuss the methods of
representation employed by two diametrically opposed artists, whose roots go
back to the Brazilian neo-avant-garde movement:
Eduardo Kac and André Vallias. This analysis of the avant-gardes within the aesthetic of Modernity is based on Jacques Rancière’s “régimes esthétiques”, his idea of the “partage du sensible”, and on the
combination of his concepts of “mésentente et malentendu”. In particular, we
will address one specific question related to poetry since the beginning of the
Modernity: how does post-neo-avant-garde poetry transfer subjectivity from the poem’s
immanence to the reader’s/viewer’s perception and inter-activity?
Cite this paper
Corrêa, M. (2017). Politics of Aesthetics and the Neo-Avant-Garde in Brazil. Open Access Library Journal, 4, e3155. doi: http://dx.doi.org/10.4236/oalib.1103155.
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Kac. (All Poems and Works of Art
Discussed on This Paper Are Available On-Line on the Official Websites, Blogs and
YouTube of the Authors) http://www.ekac.org/
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C. (2008) Versatile
Vanguard Vectors: From Visible Voices to Virtual Vortices in the Vamps,
Versions, and Voyages of Brazilian Concrete Poetry. Graphos, 10, 69-87.
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Pignatari, D.
and de Campos, H. (2006) Teoria
da Poesia Concreta. Textos críticos e manifestos 1950-1960. 4th Edition,
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Pedrosa, M. (1951) The
Chromatic Plastic Dynamism of Abraham Palatnik: An Introduction to the First
International Biennial of Sao Paulo. Translated
from the Portuguese by Eduardo Kac, Leonardo Online. A Radical Intervention:
Brazilian Electronic Art. http://www.leonardo.info/isast/spec.projects/pedrosa.html
Biggs, S. (2008) Auto/onto-Poiesis. In: Vallias, A.,
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