Situations for a brazilian performance art’s historiography

Abstract

The present paper sees the expressions of Vanguarda Brasileira [Brazilian Avant-garde] in the 1960s and 1970s as a starting point to a potential historiography of performance art in Brazil. Beginning in 1959, with Manifesto Neoconcreto [Neoconcrete Manifesto] and Teoria do Não-Objeto [Non-object Theory], we can establish the rising of performatic practices among the new strategies in the field of art for its insertion into Brazilian social reality. The comprehension of the work of art, of the artist’s political role in society and the place of the spectator within the experience of art has transformed the notion of work of art from the object to the experience itself.