From abstraction to neo-concretism: a tribute to D茅cio Vieira
This exhibition begins at a fundamental landmark in Brazilian art history, the 1st National Exhibition of Abstract Art, held here, in the Quitandinha Palace, in 1953. Under the general organisation of Edmundo Jorge and D茅cio Vieira 鈥� and a result of articulation involving the Associa莽茫o Petropolitana de Belas Artes and the Museu de Arte Moderna do Rio de Janeiro 鈥� the exhibition was one of the inaugural moments for the social acceptance of a non-figurative art form in Brazil. Not particularly programmatic in terms of aesthetic choices and politics within the field of abstraction, and different from later initiatives, the 1st National Exhibition of Abstract Art did not seek to affirm a unique constructive paradigm, but to open space for the freedoms of investigation that were then in effervescence.
On one hand, From abstraction to neo-concretism: a tribute to D茅cio Vieira presents a historical contextualization of the field of art in Rio de Janeiro between the 1940s and 1950s, and on the other hand, it presents D茅cio鈥檚 personal trajectory, linking the individual to the collective, as a way of showing the establishment of a modern environment in the country. As well as exhibition organiser, he was also the artist awarded by a jury made up of M谩rio Pedrosa, Niomar Muniz Sodr茅 and Fl谩vio de Aquino. Not only his importance to the exhibition and the environment of the consolidation of non-figurative art in the country, but also D茅cio Vieira鈥榮 contribution and permanent revulsion for art can be seen in this exhibition. A member of Grupo Frente 鈥� responsible for the affirmation of an agenda for concrete art in Brazil 鈥� soon afterwards he began developing his work in a neo-concrete key, demonstrating a productive restlessness. His trajectory from 鈥渁bstraction to neo-concrete鈥� speaks of the singularity of D茅cio鈥檚 work, and alerts us of the state of Rio de Janeiro鈥檚 unquestionable place of importance in terms of Brazilian culture.
This exhibition begins at a fundamental landmark in Brazilian art history, the 1st National Exhibition of Abstract Art, held here, in the Quitandinha Palace, in 1953. Under the general organisation of Edmundo Jorge and D茅cio Vieira 鈥� and a result of articulation involving the Associa莽茫o Petropolitana de Belas Artes and the Museu de Arte Moderna do Rio de Janeiro 鈥� the exhibition was one of the inaugural moments for the social acceptance of a non-figurative art form in Brazil. Not particularly programmatic in terms of aesthetic choices and politics within the field of abstraction, and different from later initiatives, the 1st National Exhibition of Abstract Art did not seek to affirm a unique constructive paradigm, but to open space for the freedoms of investigation that were then in effervescence.
On one hand, From abstraction to neo-concretism: a tribute to D茅cio Vieira presents a historical contextualization of the field of art in Rio de Janeiro between the 1940s and 1950s, and on the other hand, it presents D茅cio鈥檚 personal trajectory, linking the individual to the collective, as a way of showing the establishment of a modern environment in the country. As well as exhibition organiser, he was also the artist awarded by a jury made up of M谩rio Pedrosa, Niomar Muniz Sodr茅 and Fl谩vio de Aquino. Not only his importance to the exhibition and the environment of the consolidation of non-figurative art in the country, but also D茅cio Vieira鈥榮 contribution and permanent revulsion for art can be seen in this exhibition. A member of Grupo Frente 鈥� responsible for the affirmation of an agenda for concrete art in Brazil 鈥� soon afterwards he began developing his work in a neo-concrete key, demonstrating a productive restlessness. His trajectory from 鈥渁bstraction to neo-concrete鈥� speaks of the singularity of D茅cio鈥檚 work, and alerts us of the state of Rio de Janeiro鈥檚 unquestionable place of importance in terms of Brazilian culture.
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