Max Bense/Aloísio Magalhães (Germany, 1969): the transcultural and popular context of Der Weg eines Zeichens

Authors

DOI:

https://doi.org/10.11606/issn.2178-0447.ars.2018.141261

Keywords:

Max Bense, Aloísio Magalhães, sign theory, typography, popularity

Abstract

If the Modernist impulse requires new approaches, then many argue that highlighting the networks of artistic exchange is one way of reactualizing the Modernist paradigm. In 1969, Brazilian artist and designer Aloísio Magalhães (1927-1982) exhibited a series of photographs at the study gallery at Studium Generale, University of Stuttgart, an exhibition space for interdisciplinary discourse founded by Max Bense (1910*1990) in 1958. In this study I want to discuss key aspects of this exhibition project, comparing it with the Brazilian concretist movement and Lina Bo Bardi’s exhibitionary visions, as well as to examine the different cultural approaches to Magalhães photographic project and its common grounds with formalism, concretism and sign theory.

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Author Biography

  • Susanne Neubauer, Freie Universität Berlin

    Curator and art historian who gained her doctorate from Zurich University with a thesis on the documentation of Paul Thek’s environments. Her recent published work has appeared in RIHA Journal, Konsthistorisk tidskrift and Theory, Culture and Society. She currently works on the book ‘Entangled Diversities: Brazilian Art in Post-1945 Germany.

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Published

2018-04-13

Issue

Vol. 16 No. 32 (2018)

Section

Articles

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How to Cite

Max Bense/Aloísio Magalhães (Germany, 1969): the transcultural and popular context of Der Weg eines Zeichens. (2018). ARS, 16(32), 121-138. https://doi.org/10.11606/issn.2178-0447.ars.2018.141261