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Limitless Museum: P. M. Bardi’s Aesthetic Reeducation

Anagnost, Adrian

Modernism/modernity (Baltimore, Md.), 2019-11, Vol.26 (4), p.687-725 [Periódico revisado por pares]

Baltimore: Johns Hopkins University Press

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  • Título:
    Limitless Museum: P. M. Bardi’s Aesthetic Reeducation
  • Autor: Anagnost, Adrian
  • Assuntos: 1900-1999 ; Aesthetics ; Allegory ; Archetypes (Psychology) ; Architecture ; Art galleries & museums ; Art museum directors ; Art museums ; Authorship ; Bardi, P. M ; Biography ; Brazil ; Collaboration ; Colloquial language ; Culture ; Epic literature ; Exegesis & hermeneutics ; Hegemony ; Ideology ; Literary canon ; Literary devices ; Literary translation ; Logic ; Morality ; Multiculturalism & pluralism ; Museu de Arte de São Paulo Assis Chateaubriand ; Narrative techniques ; Pedagogy ; Pietro Maria ; Politics ; Rhetoric ; São Paulo
  • É parte de: Modernism/modernity (Baltimore, Md.), 2019, Vol.26 (4), p.687-725
  • Descrição: [...]he retained the heroic rhetoric he had developed in fascist Italy, calling upon the museum to make its monuments sing.3 In postwar Italy, Bardi had seen that any future work would likely be circumscribed by the shadow of his activities during the recently-deposed fascist regime. [...]in 1946 he and his wife, architect Lina Bo Bardi, left Italy for Brazil.4 Almost immediately, the two were drawn into the orbit of media magnate Assis Chateaubriand, who enlisted the couple to work as director and architect, respectively, for his new art museum, the São Paulo Museum of Art (MASP) (fig. 1). Best known are MASP’s “crystal easels,” freestanding sheets of glass on which paintings were mounted throughout a large expanse of open gallery space (fig. 2).5 These crystal easels were first installed at MASP in the late 1960s, and they have long been understood as an antiteleological mode of display that disrupted canonical art histories, thus democratizing art viewing. [...]in the late 1940s, two decades prior to the crystal easels, the Bardis’ exhibition practices began pushing the sensibility of the Brazilian art world from the salão (salon) of aristocratic or bourgeois sociability to the public museum sala (hall). Lina Bo Bardi’s position has been privileged, since her Gramscian take on popular culture is more appealing than P. M. Bardi’s unabashed cultural elitism and—at least earlier in his career—explicitly fascist sympathies.6 In such readings, MASP’s increasingly “democratic” museum displays dovetailed with Bo Bardi’s progressive 1960s projects to valorize vernacular cultural production of Brazil’s impoverished northeast, particularly by Afro-Brazilians.7 Although Bo Bardi’s solo writings and curatorship of the 1960s may cast 1940–50s MASP in a favorable light, it is not easy to disentangle her earlier aesthetic innovations and theoretical justifications from those of her husband.
  • Editor: Baltimore: Johns Hopkins University Press
  • Idioma: Inglês
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  • Realização: ABCD-USP USP   Logos de Redes Sociais: Freepik

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