Publication
To Draw Borders and the Aesthetic Mind: reviewing Europe with Almada Negreiros
| dc.contributor.author | LAMBERT, Maria de Fátima | |
| dc.date.accessioned | 2020-03-25T21:19:17Z | |
| dc.date.available | 2020-03-25T21:19:17Z | |
| dc.date.issued | 2020-03-25 | |
| dc.description.abstract | At the beginning of the 20th century, Almada Negreiros considered that Portugal had urgently to step into Europe and the only way to achieve it was through cultural performing, affirming the straightness of modern thought. Almada acted in several paths of creation what might diagnose his profile as a “polychrome artist”, following Edward T. Hall in The hidden dimension (1966, 173). Let’s underline the principle of a South European polychrome person that shaped the unique (but multiple) direction of Almada’s achievement in his multidisciplinary artistic and thinking roles. Nowadays, a century after reviewing his writings concerning Europe (from his modernist period), how can we understand his obsession? Let's analyse what involves the title “Portugal in the Map of Europa” published at SW – Sudoeste, the magazine he kept for three numbers during 1935. And, on the other hand, considering his multiple achievements as an artist and performer thinker, how did the idea of Europe – its utopia survived all those decades until the Portuguese 1970’s? And let’s add Almada’s compulsive quest for the universal language before writing – the antegraphy developed as an inner and essential thinking. How do it connect with the urge for modernity? Can it be reasoned in a two highways pursuit: the European assumption of Portuguese nationality versus that Universal visual writing which existed since the early age of humanity? Are those anthropological, philosophical and aesthetic/artistic proposals by Almada deeply linked or/and setting forth gaps, even paradoxes’ aims? And, mainly, when regarding his African ancestors, that apparently he never emphasized too much, should it be considered the link of his demand for antegraphy the universal visual language present in all continents? Maybe that concept of polychrome artist is a key for shaping Almada’s solo utopian identity with a www anthropological geography. Was he a true paradigm of a polychrome artist? | pt_PT |
| dc.description.version | info:eu-repo/semantics/publishedVersion | pt_PT |
| dc.identifier.citation | LAMBERT, Maria de Fátima – To Draw Borders and the Aesthetic Mind: reviewing Europe with Almada Negreiros in NOTES ON EUROPE. THE DOGMATIC SLEEP. Proc. Edited by Eduarda Neves, Luís Lima e Nuno Faleiro Rodrigues. Porto: CEAA / ESAP-CESAP, 2020, p. 109-125 | pt_PT |
| dc.identifier.isbn | 978-972-8784-96-6 | |
| dc.identifier.uri | http://hdl.handle.net/10400.26/31899 | |
| dc.language.iso | eng | pt_PT |
| dc.peerreviewed | yes | pt_PT |
| dc.publisher | CEAA/ESAP-CESAP | pt_PT |
| dc.relation.publisherversion | http://hdl.handle.net/10400.26/31889 | pt_PT |
| dc.rights.uri | http://creativecommons.org/licenses/by/4.0/ | pt_PT |
| dc.subject | Almada Negreiros | pt_PT |
| dc.subject | Polychrome artist | pt_PT |
| dc.subject | European (aesthetic) Utopia | pt_PT |
| dc.subject | Antegraphy | pt_PT |
| dc.title | To Draw Borders and the Aesthetic Mind: reviewing Europe with Almada Negreiros | pt_PT |
| dc.type | conference object | |
| dspace.entity.type | Publication | |
| oaire.citation.conferencePlace | Porto | pt_PT |
| oaire.citation.endPage | 125 | pt_PT |
| oaire.citation.issue | 1 | pt_PT |
| oaire.citation.startPage | 109 | pt_PT |
| oaire.citation.title | NOTES ON EUROPE. THE DOGMATIC SLEEP. Proc | pt_PT |
| rcaap.rights | openAccess | pt_PT |
| rcaap.type | conferenceObject | pt_PT |
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