Da pintura histórica à bienal histórica: autonomia, curadoria e bienalização
This article targets on the relationship between art, history and curatorship. Its structure has a threefold division, focusing, at first, the dichotomy between curating and autonomy found in critical fortune associated with São Paulo Biennial’s editions. Then, it discusses the consolidation of Hist...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Pós (Universidade Federal de Minas Gerais. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/15753 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/revistapos/article/view/15753 |
| Access Level: | acceso abierto |
| Palabra clave: | Curadoria História das Exposições Autonomia Curatorship History of Exhibitions Autonomy |
| Sumario: | This article targets on the relationship between art, history and curatorship. Its structure has a threefold division, focusing, at first, the dichotomy between curating and autonomy found in critical fortune associated with São Paulo Biennial’s editions. Then, it discusses the consolidation of History of Expositions, considering the flourishment of mega exhibitions and the “transnational legacy” of Magiciens de la Terre (Paris, 1989). Finally, it investigates the curatorial strategies of the XXXI edition of the Bienal de São Paulo, from the perspective of historical painting. |
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