黑料不打烊

The 1990s are marked, in Brazilian art, by an operation of deconstruction and reconstruction of the notions of concrete and constructivism, notably through the 鈥減op-folk鈥� works 鈥� to use the expression of a critic of the period 鈥� by names like Marepe, Alexandre da Cunha and Emmanuel Nassar. About him, it has been stated that he 鈥渓iterally makes a 鈥榞ambiarra鈥� from concrete to popular or vice versa鈥�. From this same deconcretist and deconstructivist matrix, the more minimalist poetics of Marcius Galan, Renata Lucas and Fernanda Gomes were also born in that decade and in the 2000s.

The 1990s are also a time of reconciliation with the beautiful, with color being rehabilitated by artists who do not identify with the 1980s generation, but who practice a kind of conceptual painting, such as Caetano de Almeida, Monica Nador and Marina Saleme. About Saleme, it has been written: 鈥淭he figurative allusion is firmly anchored by the title; it is a landscape, and yet it is already a post-concept painting, painting of painting, a figure that examines the viability of painting now 鈥�. Finally, another hallmark of this historical period in art is the emergence of conflicting subjectivity in more existential works, such as those by Leonilson, Dora Longo Bahia, Edgard de Souza, and Cabelo.