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1

PEDROSA, M. Forma e Personalidade. Forma e Percepo Esttica (org. Arantes, Otlia), So


Paulo: Edusp, 1996, p. 220.
U!FERREIRA GULLAR. Poesia Concreta: Experincia Intuitiva. Experincia Neoconcreta. So Paulo:
Cosacnaify, 2007, p. 71.!

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3

PEDROSA, M. Especulaes Estticas: Lance Final III. Mundo, Homem, Arte em Crise. So Paulo:
Perspectiva, 1975, p. 138-139.
4
Depoimento do artista autora, em entrevista indita realizada em junho de 2009. Mantemos, para
conservar a vivacidade desta conversa, o uso de expresses coloquiais. Todos os trechos de falas
subsequentes do artista provm dessa entrevista, salvo indicao de outra fonte.

"!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
5

PEDROSA, M. Especulaes Estticas: Lance Final III, op. cit., p. 137.


BENJAMIN, W. Sobre o Conceito da Histria. Obras Escolhidas. Magia e Tcnica, Arte e Poltica.
So Paulo: Brasiliense, 1994, p. 223.
6

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
7

BENJAMIN, W. A Obra de Arte na Era de sua Reprodutibilidade Tcnica (primeira verso), in


Obras Escolhidas. Magia e Tcnica, Arte e Poltica, op. cit., p. 170.
8
FREUD, S. Sobre a Transitoriedade (1915). Edio Standard Brasileira das Obras Psicolgicas
Completas de S. Freud (ESB). Rio de Janeiro: Imago, 1986, vol. XIV, p. 317.
9
Ibidem.

"!

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10

FREUD, S. (1917) Vorlesungen zur Einfhrung in die Psychoanalyse (Conferncias Introdutrias


sobre Psicanlise). Gesammelte Werke. Londres: Imago, 1944, vol. XI, p. 295. Ns traduzimos este e
todos os demais trechos em lngua estrangeira aqui citados.

"!

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
12

BENJAMIN, W. A Obra de Arte na Era de sua Reprodutibilidade Tcnica, op. cit., p. 170.
Ibid., p. 167.

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
13

Ibid., p. 180.
Ibid., p. 171-172.
15
BARTHES, R. A Cmara Clara. Rio de Janeiro: Nova Fronteira, 1984.
16
Ibid., p. 174.
14

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17
18

Cildo Meireles, Geografia do Brasil. Rio de Janeiro: Artviva Produo Cultural, 2001, p. 40.
Ibidem, p. 20.

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19

Catlogo da Exposio Cildo Meireles. Algum Desenho (1963-2008). Curitiba: Museu Oscar
Niemeyer, 2008, p. 60.
20
PEDROSA, M. As Relaes entre a Cincia e Arte (1953). Forma e Percepo Esttica. So Paulo:
Edusp, 1996, p. 248.

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
21

EL LISSITZKY. A. and Pangeometry. Russia: An Architecture for World Revolution. Cambridge,


Massachussets: MIT Press, 1989, p. 143.
22
Ibidem, p. 144.
23
MALEVICH, K. Le Suprmatisme. Malevitch crits. Paris: Ivrea, 1996, p. 226.
24
FERREIRA GULLAR. Manifesto Neoconcreto (1959). Experincia Neoconcreta, op. cit., s./p.
25
Ibidem.

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Cildo Meireles, Geografia do Brasil, op. cit., p. 21.


Ibid., p. 20.
28
Ibid., p. 72.
29
HEIDEGGER, M. Observaes sobre Arte Escultura Espao. Artefilosofia, n. 5, julho de 2008.
Ouro Preto: IFAC-UFOP, p. 21. Traduo de Alexandre de Oliveira Ferreira.
30
Ibid., p. 19.
27

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
31

Ibid., p. 20, grifos do autor.


Ibidem.
33
Ibid., p. 20, nota 11.
32

"#

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
34

Catlogo da Exposio Lygia Clark. Barcelona/Rio de Janeiro et al.: Fundaci Tapies e Pao
Imperial, 1999, p. 165.

"#

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
35

OITICICA, H. Bases Fundamentais para uma Definio do Parangol. Catlogo da Exposio Hlio
Oiticica. Rio de Janeiro:1996, p. 88.
36
OITICICA, H. Anotaes sobre o Parangol. Catlogo da Exposio Hlio Oiticica. op. cit., p.
93.
37
Ibidem.

"#

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38

RANCIRE, Jacques. A Partilha do Sensvel. Esttica e Poltica. So Paulo: Ed. 34/ Exo, 2005, p.
15.
39
Ibid., p. 16.

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40
41

MONDZAIN, M. J. Homo Spectator. Paris: Bayard, 2007, p. 31. Grifos da autora.


Ibid., p. 203.

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
42

ARENDT, H. A Vida do Esprito. Rio de Janeiro: Civilizao Brasileira, 2008, p. 513.


Ibid., p. 519.
44
Ibidem.
43

"#

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
45

Cildo Meireles, Geografia do Brasil. Op. cit., p. 56.


Ibid, p. 58.
47
Ibid., p. 19.
46

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
48

NANCY, J.-L. La Comparution. In NANCY, J.-L. e BAILLY, J.-Ch. La Comparution. Paris:


Christian Bourgois, 2007, p. 57.
49
Ibid., p. 58.

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
50

PEDROSA, M. Especulaes Estticas: Lance Final III. Mundo, Homem, Arte em Crise. So Paulo:
Perspectiva, 1975, p. 138.
51
NANCY, J.-L. La Comparution, op. cit., p. 56.
52
BLANCHOT, M. Le Dernier Parler. Une Voix Venue dAilleurs. Paris: Gallimard, 2002, p. 71.
Ns traduzimos.

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!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
53

Lugares de Divagacin (Entrevista de Nuria Enguita com Cildo Meireles). Cildo Meireles.
Valencia: IVAM Centre del Carme/ Generalitat Valenciana, 1995, p. 13.
54
Ibid., p. 14.
55
NANCY, J.-L. La Comparution, op. cit., p. 91.

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56
57

LACAN, J. Le Sminaire Livre X. LAngoisse. Paris: Seuil, 2004, p. 60.


BAILLY, J.-Ch. Avant Propos. In Nancy, J.-L. e Bailly, J.-Ch. La Comparution, op. cit., p. 20.

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58

Ibid., p. 23.
Apud BLANCHOT, M. La Communaut Inavouable. Paris: Les ditions de Minuit, 1983, p. 16.
minha a traduo desta e das demais citaes.
59

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60

BAILLY, J.-Ch. LIsthme. In Nancy, J.-L. e Bailly, J.-Ch. La Comparution, op. cit., p. 42.

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