Hal Foster, Rosalind Krauss, Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900: Modernism, Antimodernism, Postmodernism (Thames & Hudson, 2005), 377–78.
Marcia X and Alex Hamburger in Márcia X, ed. Beatriz Lemos (Museu de Arte Moderna do Rio de Janeiro, 2013), 226. All translations throughout this essay are mine.
To say that chance defined the form of 4’33” is inaccurate. Except perhaps in its first presentation, viewers did not actually behave naturally during 4’33”. Instead, they socially performed what they would be “naturally” doing in the course of an ordinary concert, namely—to quote Hamburger and X—remaining in a “sepulchral silence.” That is, instead of behaving naturally, viewers, consciously or not, performed natural behavior during 4’33”. In that sense Cage and the Velocipedes was ultimately a misappropriation of the performativity tacitly—and in a sense coercively—imposed upon the public by 4’33”.
X and Hamburger, Márcia X, 225.
Paulo Sérgio Duarte, Anos 60: Transformações da arte no Brasil (Campos Gerais, 1998), 69.
Cildo Meireles, “Inserções em circuitos ideológicos: 1. Projeto Coca-Cola (1970),” in Cildo Meireles (FUNARTE, 2009), 25.
Meireles, “Inserções em circuitos ideológicos,” 26. My emphasis.
Meireles, “Inserções em circuitos ideológicos,” 24.
Lucio Costa, “Memórial Descritivo do Plano Piloto,” in Registro de uma vivência (Empresa das Artes, 1995), 284. My emphasis.
Otavio Leonidio, Carradas de Razões: Lucio Costa e a arquitetura moderna brasileira (Loyola, 2008).
Adirley Queirós, “Entrevista,” Cinética, August 12, 2015 →.
Queirós stated this in a panel held on March 4, 2023 at Instituto Moreira Salles, Rio de Janeiro.
Judith Butler, The Force of Nonviolence: An Ethico-Politcal Bind (Verso, 2020), 15.
Erika Fischer-Lichte, The Transformative Power of Performance: A New Aesthetics (Routledge, 2008).
Judith Butler, Frames of War, When Life is Grievable (Verso, 2009), 170.
Quoted in Apud Anna Paula Canez and Hugo Segawa, “Brasília: utopia que Lucio Costa inventou,” Arquitextos 11, no. 125 (October 2010) →.
Carlos M. Teixeira, “Brasília, Cidade Cerrado,” Arquitextos 21, no. 24 (July 2020) →.
Teixeira, “Brasília, Cidade Cerrado.”
Teixeira, “Brasília, Cidade Cerrado.”
Rodrigo Naves, O vento e o moinho: Ensaios sobre arte moderna e contemporânea (Companhia das Letras, 2007), 214–15.
Denise Ferreira da Silva, “After It’s All Said …,” in Paulo Nazareth: Melee (Miami Institute of Contemporary Art, 2020), 39.
Kynaston McShine, “Acknowledgments,” in Information (Museum of Modern Art, 1970), 6. Exhibition catalog.
Cildo Meireles, “Cildo Campos MEIRELLES,” in Information, 85. My emphasis.