Abstract
This article proposes to consider the Brazilian art movement Antropofagia in the context of transcultural global modernism. Strongly connected to Paris during the 1920s and 1930s, the modernist movement that came to define Brazilian art was situated among clichéd colonial exhibitions and international artistic movements. With its striking background, the movement proves to be a very interesting contrast to Warburg’s Mnemosyne-Atlas. While both projects – from an emancipatory perspective – were formed as a ‘community of memory’, their different contexts of genesis did not make them equally susceptible to transregional experiences.
Abbildungsnnachweis: 1 Deauville 1931 (wie Anm. 1), 3. — 2, 3 Ausst.-Kat. Tarsila do Amaral 2009 (wie Anm. 5), 111 und 30. — 4XXIV Bienal de São Paulo (Ausst.-Kat., São Paulo, Fundação Bienal São Paulo), 3 Bde., Bd. 1: Núcleo histórico: antropofagia e histórias de canibalismos, São Paulo 1998, A-369. — 5Manet Manet. Zwei Bilder im Dialog (Ausst.-Kat, London, Courtauld Institute of Art Gallery und München, Neue Pinakothek), hg. von James Cuno und Joachim Kaak, München 2004, 45.
© 2018 Lena Bader, published by De Gruyter
