XXXV BIENNALE DI VENEZIA 1970

ROBERTO BURLE MARX  /  MARY VIEIRA

Catalogo della Mostra / Exhibition Catalogue

Venezia, Giardini di Castello, Padiglione Brasiliano

 Alfieri e Lacroix, Settimo Milansese, 1970

Brossura ed. / Softcover

in 8°, dim.: 13 x 25 cm., 120 pag.

DOPPIO CATALOGO SPECULARE

1 - Roberto Burle Marx

50 pag, 13 tavole in b.n. / 13 b.w. plates

·        Il Brasile alla XXXV Biennale di Venezia

·        Roberto Burle Marx, sintesi bioblibliografica

·        Opere esposte

2 - Mary Vieira

62 pag, 37 tavole in b.n., 1 tavola a colori / 37 b.w. plates, 1 color plates

·        Il Brasile alla XXXV Biennale di Venezia

·        Sintesi cronologica dello sviluppo dell’opera di Mary Vieira

·        Mary Vieira, sintesi bioblibliografica

·        Opere esposte

RARA PRIMA EDIZIONE / FIRST EDITION

Testi in italiano e portoghese / Text in Italian and Portuguese

Roberto Burle Marx (August 4, 1909 – June 4, 1994) was a Brazilian landscape architect (as well as a painter, print maker, ecologist, naturalist, artist and musician) whose designs of parks and gardens made him world famous. He is accredited with having introduced modernist landscape architecture to Brazil. He was known as a modern nature artist and a public urban space designer. His work had a great influence on tropical garden design in the 20th century. Water gardens were a popular theme in his work. He was deftly able to transfer traditional artistic expressions such as graphic design, tapestry and folk art into his landscape designs. He also designed fabrics, jewellery and stage sets.

He was one of the first people to call for the conservation of Brazil`s rainforests. More than 50 plants bear his name. He amassed a substantial collection of plants at his home, including more than 500 philodendrons.

 Mary Vieira used to call herself a plastic ideaer. She anticipated divisions between the categories of drawing, painting, sculpture and architecture would be extinguished, and considered interdisciplinarity to be key for the evolution of art. The main concepts in her work are absolutely contemporary. Taking along some models she had idealized before in Brazil, she moved to Switzerland in 1951. In 1952, she was invited to publish the Zeiten einer Zeichnung series for Spirale, major concretist publishers of the time. And there lies the whole essence of her oeuvre, which unfolds from concretism to kinetic art, or, more precisely, to cinevisualism. As Italian critic and poet Carlo Belloli pointed out, Mary Vieira’s oeuvre summons the spectator to art. The coherence, the precision, and the comprehensiveness of the artist’s aesthetic view have never been totally displayed in her home country. Mary Vieira – O Tempo do Movimento is the opportunity to revive this international artist who, according to Markus Kütter, has always carried her Brazilian origin as a veil about her.

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