The São Paulo Museum of Art (MASP) has a rich history of Brazilian modern and contemporary art, with a surprising emphasis on figuration in its original collection. However, the museum has recently shifted its focus to geometric abstraction, filling gaps in its holdings and showcasing these artworks to the public.
One of the exhibitions that exemplifies this shift is “Geometries,” part of the “Five Essays on MASP” series. This exhibition, spanning from the 1950s to the present, highlights the vibrancy of geometric art in Latin America and the United States, particularly focusing on Brazil’s Constructivist, Concrete, Neo-Concrete, and contemporary art movements.
The intimate nature of the show, with 62 pieces displayed on a single floor, underscores the interconnectedness of these movements. Artists like Ferreira Gullar, Lygia Clark, Amilcar de Castro, and Franz Weissmann signed the Neo-Concrete Manifesto in 1959, advocating for a departure from rationality in favor of expressivity and phenomenology. This transition from Concrete to Neo-Concrete art was fluid, as seen in de Castro’s works, which blend rational geometric forms with expressive and pliable materials.
Other artists in the exhibition, such as Weissmann and Clark, blur the lines between Concrete and Neo-Concrete movements, creating geometric artworks with a sense of spontaneity and tactility. The impact of these movements extends to other mediums, including photography and painting, where artists like Gertrudes Altschul, Geraldo de Barros, Ione Saldanha, Judith Lauand, and Tomie Ohtake experiment with color and form.
The exhibition also features works that challenge traditional notions of geometry and abstraction, such as Lauand’s playful use of circles and Ohtake’s deceptive compositions. The interplay of lines and forms in these artworks evokes a sense of structured sensibility while remaining tactile and expressive.
“Geometries” at MASP is a testament to the rich history of geometric abstraction in Brazilian art and its influence on modern and contemporary movements. The exhibition runs until August 3 and is curated by Adriano Pedrosa and Regina Teixeira de Barros with Matheus de Andrade.
