Formation and Heritage of the Brazilian Constructivism and Neoconcretismo in the Transcultural Contexts of West German Conceptions of Modernity in the 1950s and 1960s

研究项目的重点是调查战后现代主义在年轻的德意志联邦共和国外交背景下的发展，考虑到1945年至1960年巴西艺术在德国的出现，并提出对其传统西方概念的改变解读。该项目阐述了不同流派的巴西艺术家对西德艺术界的动态和日益分化的重要贡献。一个特别的重点在于分析人际接触和文化误解、挪用和将巴西概念西化到德国语境中的做法，这些都没有影响到欧洲中心论的艺术史。巴西关于具体主义和新保守主义艺术的论述出现在德国的现代艺术展上，并专注于平面设计。混凝土诗歌在巴西的发展同样与该国的混凝土绘画联系在一起，并通过现有的网络传播到德国。跨学科研究探讨了关于抽象作为国际语言的艺术史争论对民主德国社会主义艺术发展的必要扩展，并考察了最近关于现代性多元化的讨论。这项研究是对德国-美国和德国-法国关于1945年后西德自我暴露和文化政治倡议历史的研究的补充，采用了新的外部视角，利用了广泛的基于档案的研究。此外，该研究项目在方法论上做出了重大贡献，将当代全球范围内的艺术史和展览史的跨文化研究概念与1989年后批评艺术史的方法联系起来。

The focus of the research project is the investigation into the development of post war modernism in the diplomatic context of the young German Federal Republic considering the emergence of Brazilian art in Germany between 1945 and 1960 and proposes an altered reading of the its traditionally western concept. The project elaborates on the important contribution of Brazilian artists working in different genres to the dynamic and increasing differentiation of the West German art scene. A particular focus lies on the analysis of interpersonal contacts and of cultural misunderstandings, misappropriations and practices of westernization of Brazilian concepts into German contexts which have not afflicted the eurocentristic history of art. Brazilian discourses on art recurring to concretism and neoconretismo appeared in Germany in exhibitions of modern art and were absorbed in graphic design. The development of Concrete Poetry in Brazil was equally linked to concrete painting of the country and arrived in Germany through existing networks. The interdisciplinary research investigates into the necessary expansion of art historical debates about abstraction as international language in differentiation to the development of socialist art of the GDR and examines the recent discussion about the plurality of modernity. The research complements previous German-American and German-French studies on the history of West German self-exposure and cultural political initiatives after 1945 by a new external perspective making use of extensive archival based research. Furthermore, the research project makes a significant methodological contribution by linking contemporary transcultural research concepts of the history of art in a global context and the history of exhibitions to methods of critical art history after 1989.