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Essays tracing the evolving relationship between British women writers and the short story genre from the late Nineteenth Century to the present day.

English fiction --- Short stories, English --- Literature and society --- Politics and literature --- Literature --- Literature and politics --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- Women authors --- History and criticism. --- Political aspects --- Social aspects

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Hélio Oiticica, né à Rio de Janeiro le 26 juillet 1937 et mort dans cette ville le 22 mars 1980, est un artiste plasticien et théoricien brésilien, à la fois sculpteur, peintre, performeur, cinéaste et écrivain. One of the most radical and joyful artists of the 20th century, Hélio Oiticica (1937-1980) helped lead the charge in Brazilian art's unique transition from abstract concrete art to performative objects and collective performance. As MoMA's 2019 exhibition 'Sur Moderno' demonstrated, one of Oiticica's most revolutionary projects was the Parangolé, wearable sculptures made from fabric, plastic or paper. The Parangolé is meant to be worn, inhabited and danced by a participant, lending a physical spontaneity to the piece that entirely blurs the boundaries between the art object and those who experience it. 'Dance in My Experience' traces the genealogy of this theme within the artist's oeuvre, identifying rhythmic, choreographic and dance elements throughout his trajectory, from his first Metaesquemas through the Spatial Reliefs, Nuclei and Bólides, culminating in the Parangolés. It includes texts by Oiticica and contributions by numerous scholars. Exhibition: MASP Museu de Arte São Paulo, Brazil (20.03.-27.09.2020) / MAM Rio, Rio de Janeiro, Brazil (Winter 2020-21)

Art and dance, - Exhibitions --- Danse --- Oiticica, Hélio, - 1937-1980, - Exhibitions --- Oiticica, Hélio --- Art and dance, --- Oiticica, Hélio, - 1937-1980,

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Difference equations.

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The most comprehensive exhibition catalog dedicated to the work of Brazilian artist Tarsila do Amaral (1886-1973), a pioneering figure in Latin American modernism. The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila's palette (which served as inspiration for the colors of the exhibition design) is also popular: "pure blue, violaceous rose, bright yellow, singing green." Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist's international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women's Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th.

Modernism (Art) --- Painting, Brazilian --- Women artists --- Cultural fusion and the arts --- History --- Tarsila, --- Tarsila, --- Tarsila, --- Criticism and interpretation. --- Themes, motives.