79:"; after the upheaval of the 1920s, which included labor unrest and several politically-motivated revolts, Carvalho's design implied that "the seat of government would have to be militarily defensible." Carvalho’s drawings for the Palácio show a contiguous cluster of variously sized, low-slung prisms, rising toward a central vertical slab. Architectural historian Lauro Cavalcanti writes that, Carvalho's "freedom and lack of commitment to rigid dogmas led him to create a personal language that mixed styles, references and construction techniques." This openness has also made that Carvalho has been hailed as pivotal figure in activating discussions about the relationship and overlaps between art and architecture. Conversely, art historian Adrian Anagnost argues that Carvalho's "design proposals and performative actions foregrounded the potential of modern architecture and urban planning principles to act as spatial checks on the raw power of Brazil’s emergent urban crowds"; and that this stance was "rooted in a deep antipathy toward non-elites, rather than an emancipatory collectivity."
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and Lívio de Abramo, but the play was shuttered by the morals police after three showings due to the São Paulo government's desire to "limit spaces where cross-class and cross-race political alliances might develop, since the
Bailado foregrounded Afro-Brazilian and mixed-race performers within an
111:, Russian ballet, Japanese martial arts, and classical chamber music. The class and racial mixing of the audiences at CAM events brought the venue to the attention of Brazil's morals police, who placed the Club under surveillance to root out leftists. In 1933, Carvalho wrote the provocative play
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Carvalho frequently courted controversy in his time, creating various "performances" before the term was coined. In 1931, he walked in the opposite direction of a Corpus
Christi parade in São Paulo, driving the crowd into a riotous state, which he later justified as an "experiment" in
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has come to be understood as an early work of performance art, but it could also be understood in terms of
Surrealist provocation that comments on the contested structures of political and religious authority in São Paulo following the
103:. The CAM was intended as a bohemian space with a small art library and a bar. Its diverse events included live drawing sessions; occasional exhibitions; lectures on Brazilian folklore,
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in 1922, joining a local construction firm, before designing his own buildings and creating numerous artworks. In all his diverse practice he was influenced by the writings of
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poetry, proletarian art, Russian politics, and the plight of children on cocoa plantations in Bahia; and performances of samba, tango, Afro-Brazilian
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In late 1932, Carvalho cofounded the Clube dos
Artistas Modernas (CAM; Club of Modern Artists) in São Paulo along with other artists including
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in 1956, and his provocations were rediscovered by a later generation of artists interested in performance, including
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Carvalho was noted for his experimental architectural designs, such as a 1928 scheme for the
Governor's Palace in
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Carvalho could regularly be seen female clothing, ostensibly as part of a performance art piece he dubbed the
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Experiência n. 2, realisada sobre uma procissão de Corpus
Christi Uma possivel teoria e uma experiencia
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119:(Experimental Theater) at CAM, with spatial design by Carvalho and fellow CAM artists including
51:. In Newcastle he obtained degrees in both civil engineering and fine art. Carvalho returned to
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Amongst
Carvalho's most noted works is the 1947 series of drawings in charcoal on paper
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Carvalho's other architectural designs include the Main House at
Capuava Ranch in rural
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262:, p. 15-27 Formas Unicas da Continuidade no Espaco, 33 Panorama da arte brasileira,
205:. New Haven: Yale University Press. pp. 15–16, 35–40, 47–51, 205n70, 207n124.
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376:"Performing São Paulo: Flávio de Carvalho and the Experimental City, 1928–1931"
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When Brazil was Modern - By Lauro
Cavalcanti, Jon M. Tolman. pages 100-102
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until 1922, attending the King Edward the
Seventh School of Fine Arts and
493:"Flavio de Carvalho, Experiencia 3, 1956 | northeastwestsouth.net"
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As an artist Carvalho represented Brazil at the 1950 Venice Biennial.
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471:"Total Theater and the Missing Pieces of the Brazilian Avant-Garde"
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
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Spatial Orders, Social Forms: Art in the City in Modern Brazil
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and a modernist residential complex at Alameda Lorena in the
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avowedly vanguard space that catered to mixed-class crowds."
417:. New Haven: Yale University Press. pp. 16–17, 47–51.
287:. New Haven: Yale University Press. pp. 16, 50.
445:. New Haven: Yale University Press. pp. 52–54.
353:. New Haven: Yale University Press. pp. 42–43.
230:. New Haven: Yale University Press. p. 26.
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578:Brazilian expatriates in the United Kingdom
338:(in Portuguese). São Paulo: Irmãos Ferraz.
518:"Afterall • Journal • Flávio de Carvalho"
176:"Afterall • Journal • Flávio de Carvalho"
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548:Alumni of Armstrong College, Durham
264:Museu de Arte Moderna de Sao Paulo
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469:Townsend, Sarah J. (April 2009).
115:to be performed at the modernist
59:and of the social anthropologist
573:Brazilian expatriates in France
380:Journal of Global South Studies
39:from 1911 to 1914, and then in
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563:Brazilian performance artists
334:Carvalho, Flávio de (1931).
19:(1899–1973) was a Brazilian
135:neighborhood of São Paulo.
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17:Flávio de Rezende Carvalho
441:Anagnost, Adrian (2022).
413:Anagnost, Adrian (2022).
374:Anagnost, Adrian (2021).
349:Anagnost, Adrian (2022).
283:Anagnost, Adrian (2022).
226:Anagnost, Adrian (2022).
199:Anagnost, Adrian (2022).
35:Carvalho was educated in
311:Guerrero, Inti (2010).
101:Emiliano Di Cavalcanti
392:10.1353/gss.2021.0004
117:Teatro da Experiência
113:Dance of the Dead God
568:Brazilian architects
313:"Flávio de Carvalho"
475:Modernism/modernity
41:Newcastle-upon-Tyne
94:Revolution of 1930
77:Revolution of 1930
121:Tarsila do Amaral
87:. This work, the
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45:Durham University
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105:Antropofagic
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558:1973 deaths
553:1899 births
542:Categories
527:2016-06-22
503:2008-11-25
185:2016-06-22
162:References
400:2476-1419
268:Sao Paulo
73:São Paulo
53:São Paulo
31:Biography
21:architect
317:Afterall
152:New Look
109:macumba
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272:Brazil
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67:Career
37:France
25:artist
481:(2).
447:ISBN
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396:ISSN
355:ISBN
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232:ISBN
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