“Brasil! Brasil! The Birth of Modernism” at the Royal Academy seeks to present Brazilian modernist art from 1917-1964, but much of the work is considered weak and derivative. The exhibition struggles with confusion in presentation and lacks strong connection to Brazilian identity. Highlighting lesser-known artists amid cultural and political turmoil, the show fails to effectively convey the vibrancy of the era it represents.
The exhibit “Brasil! Brasil! The Birth of Modernism” at the Royal Academy doesn’t showcase the iconic modernists like Lygia Pape or Oscar Niemeyer, but rather highlights lesser-known Brazilian artists from a tumultuous historical backdrop of the early 20th century. It spans from the 1917 general strike to the 1964 military coup, presenting art often sidelined or politically charged. While attempting to explore this early avant-garde, much of the work is seen as derivative or weak, reflecting European influences rather than a distinct Brazilian identity.
Ten artists each have their designated gallery, yet confusion arises from the presentation style. Lasar Segall’s initial gallery is overwhelmed by a bright yellow backdrop that diminishes the impact of his rough, muted canvases. His works, such as “Pogrom” and a depiction of a banana plantation worker, struggle with originality, appearing as mishmashed styles rather than cohesive statements. This lack of clarity extends throughout the exhibit, muddling the essence of Brazilian modernism.
Anita Malfatti, subject to heavy critique in 1917, represents the perceived challenge of defining Brazilian art. Tarsila do Amaral’s famous “Abaporu” is absent, and her later works delve into political themes lacking the vibrancy of her earlier fusions of European styles with Afro-Brazilian culture. The curatorial approach reflects an ongoing tension between upper-class appropriation of cultural elements without genuine connection, leaving visitors questioning the authenticity and intent behind the showcased works.
Some artists, like Alfredo Volpi and Djanira da Motta e Silva, depict life in Brazil with cultural resonance, while Rubem Valentim stands out for his incorporation of Candomblé symbols in innovative paintings. His distinctive style contrasts sharply with the weakly adapted pastiches featured elsewhere, casting doubt on the exhibit’s curation process. The extravagant design elements of the exhibit, created by Carla Juaçaba, may overshadow the artworks themselves, diverting attention from the intended narrative of Brazilian art history.
Although the exhibit provides valuable insights into Brazilian modernism, the disconnection between the reading about art history and viewing the actual artworks results in a conflicting experience. The exhibition concludes just as it seems to begin, highlighting a need for a more substantial exploration of Brazil’s rich artistic heritage. Ultimately, while the exhibit is ambitious, it struggles to convey the vibrancy and depth of the era it intends to represent.
The “Brasil! Brasil! The Birth of Modernism” exhibition aims to explore the emergence of modernism in Brazil from 1917 to 1964, a period marked by sociopolitical upheaval including strikes and coups. This historical context informs the works of the featured artists, many of whom faced challenges in establishing a unique Brazilian identity within their art. The exhibit seeks to present these avant-garde figures against a backdrop of European influence and local challenges.
The exhibition at the Royal Academy, while an ambitious attempt to showcase Brazilian modernism, largely falls short due to its confusing presentations and derivative artworks. Key figures are presented without context, leading to a diluted understanding of their contributions. Despite its lavish design and educational intentions, the show ultimately lacks the depth needed to effectively convey the significance of the Brazilian avant-garde artistic movement.
Original Source: www.theguardian.com