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In 2005, entering the German pavilion of the Venice Biennial, visitors were greeted with a sentence performed by a group of x people hired to follow instructions given by Tino Sehgal: This is all so contemporary, so contemporary, so contemporary. As in his previous works, the artist threw out that theatrical utterance by means of a quick-fire movement in space, a kind of minimalist choreography. This all mirrored the mediocrity of a repeated (... so... so... so) and blasé reality. In comparison, “modern” (understood here as a style and not a period) comes out all the richer for being qualified. Should Mario Pedrosa’s famous statement that “Brazil is a country condemned to modernity” thus be updated to an overwhelming contemporarity?

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Lisette Lagnado
É crítica de arte e professora do Mestrado em Artes Visuais da Faculdade Santa Marcelina, integra o Conselho Consultivo de Arte do Museu de Arte Moderna de São Paulo (MAM-SP) e é editora de Trópico e da seção "em obras" desta revista. Foi curadora da 27ª Bienal de São Paulo e coordenadora do Arquivo Hélio Oiticica (Projeto HO e Instituto Itaú Cultural). Publicou "Leonilson - São Tantas as Verdades" (DBA), entre outros livros.

 
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