Abstract

During the 1960s and 1970s, several Brazilian artists lived abroad in ‘artistic exile’. This self-imposed displacement was precipitated by many things: the immaturity of the Brazilian art system, the lack of a market for young talents, institutions’ failure to incorporate young artists’ work, the United States’ ‘policies of attraction’ and – of course – the military dictatorship in Brazil. What I propose here is an understanding of this displacement as a collective phenomenon, with historical and political dimensions and common motivations, in which artists experienced professional failure and were forced to redefine their creative processes. This article examines the trajectory of Amilcar de Castro and the works he produced during his ‘artistic exile’, as a way of comprehending aspects relevant to the displacement of this particular social group.

摘要

在 1960 年代和 1970 年代，几位巴西艺术家在“艺术流亡”中生活在国外。这种自我强加的置换是由许多因素促成的：巴西艺术体系的不成熟、缺乏年轻人才市场、机构未能吸收年轻艺术家的作品、美国的“吸引政策”以及——当然——巴西的军事独裁。我在此建议将这种置换理解为一种具有历史和政治维度以及共同动机的集体现象，其中艺术家经历了职业失败并被迫重新定义他们的创作过程。本文考察了阿米尔卡·德·卡斯特罗 (Amilcar de Castro) 的轨迹以及他在“艺术流亡”期间创作的作品，以此作为理解与这个特定社会群体的流离失所相关的方面的一种方式。