Despite the fact that the growing reception of Antonio Dias (b. 1944) in the English-speaking world is happening under the sign of global art history, the trajectory of the Brazilian artist in the 1960s and 1970s actually suggests both a counter-genealogy and a counter-geography of the global. This essay explores this situation by recontextualizing Dias's emergence vis-à-vis the critical debate on realism and underdevelopment that marked the Rio de Janeiro avant-gardist scene of the mid- to late-1960s and involved writers such as Ferreira Gullar, Hélio Oiticica, Mário Pedrosa, Pierre Restany, and Frederico Morais. It subsequently argues that such critical terms simultaneously both change and remain crucial as Dias moves away from Brazil, first to Paris, late in 1966, and then to Milan, in 1968, inflecting the artist's recourse to the English language and his turn to painting as his preferred medium even as he began to circulate amongst artists associated with Arte Povera and Conceptualism in Europe.

中文翻译：

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现实想法：里约热内卢，巴黎和米兰之间的安东尼奥·迪亚斯（Antonio Dias）

尽管在全球艺术史的标志下，安东尼奥·迪亚斯（Antonio Dias，1944年生）在英语世界中的接待越来越多，但这位巴西艺术家在1960年代和1970年代的发展轨迹实际上暗示了一种反谱系和全球的反地理环境。本文通过重新审视迪亚斯（Dias）的出现与现实主义和发展不足的批判性辩论来探讨这种情况，该辩论标志着1960年代中期至后期的里约热内卢先锋派场景，其中包括费雷拉·古拉（Ferreira Gullar），埃利奥·奥蒂奇卡（HélioOiticica）， MárioPedrosa，Pierre Restany和Frederico Morais。随后，他认为，随着迪亚斯（Dias）从巴西移居巴黎（1966年末至巴黎，然后在1968年移居米兰），艺术家的创作受到了很大的影响，这样的批判性词同时改变并且仍然至关重要。