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In this article I argue that the modernist aesthetic program in post-war Rio de Janeiro, geared towards national construction, competed with a new aesthetic project founded on the universalism of concrete forms. Rather than reflecting the influence of foreign or national avant-garde movements, this change arose from the impact a series of social relations and practices that imposed the recognition of new artistic values. To examine this phenomenon, I reconstruct the history of the Engenho de Dentro Studio, the locus of a sui generis sociability that united young artists, an art critic and artists interned in the Pedro II National Psychiatric Centre.
Bôas, G. V. (2008). The aesthetics of conversion: The Engenho de Dentro studio and concrete art in Rio de Janeiro (1946-1951). Tempo Social, 20(2), 197–219. https://doi.org/10.1590/s0103-20702008000200010
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