256:. At the Ruptura exhibition in 1952, Cordeiro distributed the Ruptura manifesto, which was seen as a radical statement of the group's intention to reject the old and embrace a new approach that included development of abstractionism, free of all representational references, that would be intelligible no matter viewers' backgrounds. Cordeiro's confrontative approach was informed a rejection of elitism, as many of the artists in Grupo Ruptura as well as Cordeiro himself came from working-class backgrounds and had a focus on the populism expressed by geometric abstractionism as a supposedly universal mode of communication.
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and urban planning projects as a practical application of many of the theories of his work. In a series of critical writings published in the mid-1960s, Cordeiro elaborated his ideas around landscape design "in terms of tensions between the intentionality and planning of the artist-designer, and the
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At the end of the 60's, Cordeiro introduced the computer to his creation system, with "derivatives of an image (1969)", made with
Giorgio Moscati, in the IBM 360 of the University of São Paulo, inaugurating with this work the "computer art "in Brazil. His goal was to translate a photographic image
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Moscati, Giorgio, Ana Maria
Belluzzo and Aracy Abreu Amaral. Arte e computação. Um depoimento do Prof. Giorgio Moscati a proposito de sua experiência de trabalho com Waldemar Cordeiro, pioneiro da arte por computação no Brasil. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo,
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Along with the engineer
Giorgio Moscati, Cordeiro produced his works "Transformação em Grau Zero / Transformação em Grau 1 / Transformação em Grau 2", which appropriate a poster for Valentine's Day, to build the image, this work is the first of its kind in Brazil (made by a computer).
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Through Arteônica, Cordeiro highlighted some problems, such as the way in which works are consumed, mechanical or electronic reproductions, where information tends to be lost and therefore meaningless. "The change of communication is the change of information" says the artist.
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Waldemar
Cordeiro: Pintor Vanguardista, Difusor, Crítico de Arte, Teôrico e Líder do Movimento Concretista nas Artes Plásticas de São Paulo na Década de 50 (Waldemar Cordeiro: Vanguard Painter, Promoter, Art Critic, Theoretician and Leader of the Concrete Art Movement in the
252:, the Sāo Paulo branch of the Brazilian Concrete art movement. Cordeiro was the group's main theorist. As Grupo Ruptura's main theoretician, he supported the group's rationalist position, openly opposed to the principles put forward by the Rio group led by the art critic
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Initially, Cordeiro painted using a traditionally figurative and expressive style. In the late 1940s, spurred in part by encounters in Rome with the abstraction promoted by the international group known as Art Club (founded by Polish painter Josef Jarema, Italian painter
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In 1971, he organized an international group exhibition showcasing electronic technology, which was a newly emerging artform. This show, "Arteônica," was held at the Museu de Arte
Brasileira de la Fundação Armando Alvares Penteado in São Paulo, Brazil.
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2005–7: Tropicália. A Revolution in
Brazilian Culture (1967–1972), Museum of Contemporary Art, Chicago (Chicago, Illinois); Barbican Art Gallery (London, England); Centro Cultural de Belêm (Lisbon, Spain); The Bronx Museum of the Arts (Bronx, New
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Cordeiro organizes the international exhibition ARTEONICA (1971), in the
Armando Alvares Penteado Foundation, in this exhibition highlights the democratizing aspects of the telematics arts, not exploited in that region until the 80's.
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2007: The
Geometry of Hope. Latin American Abstract Art from the Patricia Phelps de Cisneros Collection, Blanton Museum of Art, The University of Texas at Austin (Austin, Texas); Grey Art Gallery, New York University (New York, New
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into a numerical model, this by means of a computer language. In 1971, Cordeiro uses a photograph of a
Vietnamese girl, burned by a napalm bomb, transforming it into thousands of points by the digital process of the computer.
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The computer used was an IBM / 360-44, which was used by
Moscati at the University of São Paulo, which performed mathematical operations with a memory of 32 kbytes. The process worked based on a package of
241:, and others), Cordeiro began to transform forms made up of geometric shapes into a free expression of experimentation with sequences of shapes. Through this work, Cordeiro became known as a pioneer of the
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Cordeiro, Waldemar. Salão de sombras. Recife: Prefeitura da Cidade do Recife, Secretaria de Educação e Cultura, Conselho Municipal de Cultura, Fundação de Cultura Cidade do Recife, 1992 (Poems)
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1977: Projeto construtivo brasileiro na arte. 1950–1962, Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro, Brazil); Pinacoteca do Estado de São Paulo (São Paulo, Brazil)
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2003: Cuasi-corpus. Arte concreto y neoconcreto de Brasil, Museo de Arte Contemporáneo Internacional Rufino Tamayo, Mexico City; Museo de Arte Contemporáneo, Monterrey
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Pérez-Barreiro, Gabriel (exhibition curator); Locke, Adrian (exhibition curator); Lea, Sarah (exhibition curator); García, María Amalia; Whitelegg, Isobel (2014).
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2002: Grupo Ruptura. Arte concreta paulista. Revisitando a exposição inaugural. Centro Universitário Maria Antonia da Universidade de São Paulo (São Paulo, Brazil)
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According to Cordeiro himself, this project aims to perform interdisciplinary works, taking advantage of the fields of psychology and convergent computing in art.
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Suárez, Osbel (exhibition concept and guest curator); García, María Amalia; Agnew, Michael (translations) (2011). Witschey, Erica; Fundación Juan March (eds.).
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Suárez, Osbel (exhibition concept and guest curator); García, María Amalia; Agnew, Michael (translations) (2011). Witschey, Erica; Fundación Juan March (eds.).
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2005: Visualidades/técnicas. Danilo di Prete, Luiz Sacilotto, Marcello Nitsche, Gilberto Salvador, Waldemar Cordeiro, Instituto Cervantes (São Paulo, Brazil)
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2003: Aproximações do espírito pop, 1963–1968. Waldemar Cordeiro, Antonio Dias, Wesley Duke Lee, Nelson Leirner, Museu de Arte Moderna (São Paulo, Brazil)
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In 1968, Cordeiro was the first Brazilian artist to work within the field of electronic technology (digital and computer graphic design). He created
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Teles De Paula, Ney. "Waldemar Cordeiro. O computador e a arte," in Teles De Paula, Ney. A escada de Jacó e outros escritos. Goiânia: Kelps, 2005.
1240:– catalog of an international exhibition of computer art organized by Cordeiro and shown at the Fundação Armando Alvares Penteado, São Paulo, 1971
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Cordeiro was the self-appointed leader of the Arte Concrete community, made up of artists who came from diverse immigrant backgrounds, such as
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Gottschaller, Pia; Le Blanc, Aleca (2017). Gottschaller, Pia; Le Blanc, Aleca; Gilbert, Zanna; Learner, Tom; Perchuk, Andrew (eds.).
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189:, before settling permanently in Brazil in 1948. In Brazil, Cordeiro worked as a painter, art critic, and journalist, notably at
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2000: Século 20. Arte do Brasil, Fundação Calouste Gulbenkian, Centro de Arte Moderna José de Azeredo Perdigão (Lisbon, Spain)
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Arte do Séculos XX/XXI: Visitando o MAC na web. Módulo III: Abstracionismo e Internacionalização das Artes Anos 50, Ruptura
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Cordeiro, Waldemar. Arteônica. O uso criativo de meios electrônicos nas artes. São Paulo: Universidade de São Paulo, 1972.
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2010: Vibración. Moderne Kunst aus Lateinamerika. The Ella Fontanals-Cisneros Collection, Bundeskunsthalle (Bonn, Germany)
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2013: "Waldemar Cordeiro: Fantasia Exata," Itaú Cultural – exhibition held from July 4, 2013 to September 22, 2013
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Fabris, Annateresa. "Waldemar Cordeiro. Computer Art Pioneer." Leonardo, vol. 30, no. 1 (Cambridge, 1997): 27–31.
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2006: Espaço aberto, espaço fechado. Sites for Sculpture in Modern Brazil, Henry Moore Institute (Leeds, England)
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1984: Tradição e ruptura. Síntese de arte e cultura brasileras, Fundação Bienal de São Paulo (São Paulo, Brazil)
1249:(Thesis/dissertation) (in Portuguese). São Paulo: Escola de Comunicações e Artes da Universidade de São Paulo.
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2000: Heterotopías. Medio siglo sin lugar. 1918–1968, Museo Nacional Centro de Arte Reina Sofía (Madrid, Spain)
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1018:(Exhibition catalog) (in English and Spanish). Austin: Blanton Museum of Art, University of Texas at Austin.
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1986: Uma aventura da razão, Museu de Arte Contemporânea da Universidade de São Paulo (São Paulo, Brazil)
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with the program to be executed, which could take hours, days or weeks, depending on the expected result.
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2007: Desenho construtivista brasileiro, Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro, Brazil)
760:"Internationalism, Brasilidade, and Politics: Waldemar Cordeiro and the Search for a Universal Language"
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1987: Modernidade. Art brésilien du 20e siècle, Musée d'art moderne de la Ville de Paris (Paris, France)
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1971: "Arteônica," Museu de Arte Brasileira de la Fundação Armando Alvares Penteado (São Paulo, Brazil)
315:'pragmatic and random' situation" of the person who fulfills, or completes, the work by navigating it.
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1967: Nova objectividade brasileira, Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro, Brazil)
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Cordeiro, Waldemar. "Arteônica. Electronic Art." Leonardo, vol. 30, no. 1 (Cambridge, 1997): 33–34.
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2008: Diálogo concreto – Design e construtivismo no Brasil, Caixa Cultural (Rio de Janeiro, Brazil)
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From 1946 through 1948, when he was in his mid-20s, Cordeiro traveled back and forth from Rome and
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2006: The Sites of Latin American Abstraction, Cisneros Fontanals Art Foundation (Miami, Florida)
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Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
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838:. Los Angeles: Getty Conservation Institute and Getty Research Institute / Getty Publications.
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Price, Rachel (April 2012). "Early Brazilian Digital Culture; or, The Woman Who Was Not B.B.".
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by Waldemar Cordeiro and Giorgio Moscati. (1969) – First visual computer artwork made in Brazil
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2004: Inverted Utopias. Avant-Garde Art in Latin America, Museum of Fine Arts (Houston, Texas)
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Radical Geometry: Modern Art of South America from the Patricia Phelps de Cisneros Collection
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by Waldemar Cordeiro and Ernesto Vita, Jr. (1970) – sequential work composed of four images
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Cordeiro created abstract paintings made up of structural principles and logical concepts.
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The Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation (Miami, Florida)
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Computer Art Society (London, England) – Cordeiro was first Brazilian to hold membership
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Brasil '70/'80 (São Paulo: Fundação Armando Alvares Penteado, 1985) pp. 191–192.
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1949: Do figurativismo ao abstraccionismo, Museu de Arte Moderna (São Paulo, Brazil)
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Cordeiro, Waldemar; Kac, Eduardo (translated by) (1972). Cordeiro, Waldemar (ed.).
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229:. Cordeiro gathered the artists together as extension of a 1948 exhibition at the
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by Waldemar Cordeiro, N. Machado and Raul Fernando Dada (1973) – digital printout
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1964: Waldemar Cordeiro. Augusto de Campos, Galeria Atrium (São Paulo, Brazil)
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Additionally, from 1950 to his death in 1973, Cordeiro took part in over 150
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by Waldemar Cordeiro, José Luiz Aguirre and Estevam Roberto Serafim (1971)
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1999: Técnica cotidiano/arte, Instituto Itaú Cultural (São Paulo, Brazil)
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1975: XIII Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1965: VIII Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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In 1956, Cordeiro staged the first Exposicão Nacional de Arte Concreta.
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by Waldemar Cordeiro, Raul Fernando Dada and J. Soares Sobrinho. (1972)
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by Waldemar Cordeiro, Raul Fernando Dada and J. Soares Sobrinho. (1972)
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1973: XII Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1963: VII Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1955: III Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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In 1964, Cordeiro developed a process where he blended the features of
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1967: IX Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1961: VI Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1957: IV Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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to a Brazilian father and an Italian mother. He had dual citizenship.
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1959: V Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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1951: I Bienal Internacional de Arte de São Paulo (São Paulo, Brazil)
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Museu de Arte Contemporânea da Universidade de São Paulo (MAP USP)
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1997: I Bienal de Artes Visuais do Mercosul (Porto Alegre, Brazil)
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named "pop creto." Corediro then incorporated neo-figurative art.
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Cold America, Geometric Abstraction in Latin America (1934–1973),
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Cold America: Geometric Abstraction in Latin América (1934–1973)
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Cold America: Geometric Abstraction in Latin América (1934–1973)
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and artist. He worked as a computer artist in the early days of
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1143:(in Spanish). Brazil: Editora Senac Sao Paulo. pp. 87–88.
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Spatial Orders, Social Forms: Art and the City in Modern Brazil
233:, where the newly emerging artists had their work first shown.
126:(April 12, 1924 – June 30, 1973) was an Italian-born Brazilian
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1960: Konkrete Kunst. 50 Jahre Entwicklung, Helmhaus, Zurich
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in Rome. At Accademia di Belle Arti, Cordeiro painted in the
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art styles. During this time, he began to study the work of
612:(1956) – Industrial latex paint on plywood laminate panel
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Museu de Arte Contemporânea da Universidade de São Paulo
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1969: Galleria d'Arte della Casa do Brazil (Rome, Italy)
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1968: Oeuvres 1965–1968, Galerie Debret (Paris, France)
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Fundación Juan March, Madrid, February 11-May 15, 2011
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Cordeiro, Waldemar. "Arte analógica e/ou digital," in
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1959: Galeria de Artes das Folhas (São Paulo, Brazil)
1281:(Exhibition catalog). Madrid: Fundación Juan March.
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The Woman Who is Not B.B. (A mulher que não é B.B.)
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A Mulher que não ê B.B. (The Woman Who Is Not B.B.)
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1983: Centro Cultural São Paulo (São Paulo, Brazil)
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1059:"Radical geometry: South America's surprising art"
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421:1994: Bienal Brasil Século XX (São Paulo, Brazil)
626:Derivadas de Uma Imagem (Derivatives of an Image)
1238:. São Paulo: Editora das Americas. pp. 3–4.
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507:2001: Galeria Brito Cimino (São Paulo, Brazil)
245:movement in Latin America, specifically Brazil.
299:, a physicist at the Physics Department of the
173:, who was deeply influential to his career.
8:
1081:Cordeiro, Waldemar; Sacilotto, Luís (1952).
704:Cordeiro, Waldemar; Sacilotto, Luís (1952).
764:Hemisphere: Visual Cultures of the Americas
544:Museu de Arte de Brasília, Brasília, Brazil
579:1959: Prêmio Leirner de Arte Contemporânea
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535:(Caracas, Venezuela / New York, New York)
376:1956: Exposicão Nacional de Arte Concreta
634:Retrato de Fabiana (Portrait of Fabiana)
510:2002: Waldemar Cordeiro e a fotografia,
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490:Museu de Arte Moderna do Rio de Janeiro
1217:. São Paulo: Itaú Cultural. July 2013.
1111:. Yale University Press. p. 158.
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1014:Pérez-Barreiro, Gabriel, ed. (2007).
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533:Colección Patricia Phelps de Cisneros
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1180:"Waldemar Cordeiro, Fantasia exata"
14:
1211:Waldemar Cordeiro: Fantasia Exata
1178:Ferreira, Samara (10 July 2013).
903:. London: Royal Academy of Arts.
693:(1971, printed 1973) – lithograph
673:(1972) – computer output on paper
554:Pinacoteca do Estado de São Paulo
269:From 1957 to 1959, in the series
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1244:Wilder, Gabriela Suzana (1982).
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970:. Madrid: Fundación Juan March.
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658:Gente, Grau 6 (People, Degree 6)
650:Gente, Grau 1 (People, Degree 1)
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512:Maria Antônia University Center
16:Brazilian sculptor and theorist
878:"Waldemar Cordeiro: Biografia"
1:
726:Arte: Novos Meios/Multimeios.
1351:Museum of Fine Arts, Houston
1091:Museum of Fine Arts, Houston
1057:Laity, Paul (27 June 2014).
714:Museum of Fine Arts, Houston
610:Museum of Fine Arts, Houston
605:Idéia visível (Visible Idea)
1407:Italian emigrants to Brazil
1310:() – Exhibition catalog of
138:movement in Latin America.
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1361:Enciclopédia Itaú Cultural
1137:Arantes, Priscila (2005).
361:Selected group exhibitions
1387:Brazilian digital artists
1105:Anagnost, Adrian (2022).
758:Anagnost, Adrian (2010).
492:(Rio de Janeiro, Brazil)
477:Selected solo exhibitions
134:and was a pioneer of the
157:Cordeiro studied at the
142:Early life and education
1392:Italian digital artists
526:Museums and collections
516:University of São Paulo
319:Derivatives of an image
301:University of São Paulo
248:In 1952, he co-founded
159:Accademia di Belle Arti
698:Works and publications
1382:Brazilian art critics
198:Through this work at
146:Cordeiro was born in
1342:Museum of Modern Art
1324:Waldemar Cordeiro -
1215:(Exhibition catalog)
1016:The Geometry of Hope
968:(Exhibition catalog)
836:(Exhibition catalog)
808:10.1162/GREY_a_00070
691:Museum of Modern Art
671:Museum of Modern Art
531:Fundación Cisneros,
518:(São Paulo, Brazil)
356:Selected exhibitions
231:Prestes Maia Gallery
1086:(Offset lithograph)
1083:"Manifesto Ruptura"
709:(Offset lithograph)
706:"Manifesto Ruptura"
591:Bienal de São Paulo
584:Bienal de São Paulo
556:(São Paulo, Brazil)
548:Museum of Fine Arts
541:(São Paulo, Brazil)
593:, Prêmio Itamaraty
586:, Prêmio Itamaraty
280:and concrete art,
1377:Brazilian artists
1356:Waldemar Cordeiro
1347:Waldemar Cordeiro
1338:Waldemar Cordeiro
1288:978-84-7075-588-0
1150:978-85-396-0203-2
1025:978-0-977-14536-2
977:978-84-7075-588-0
910:978-1-907-53369-3
884:(in Portuguese).
845:978-1-606-06529-7
574:Awards and honors
282:Augusto de Campos
263:in Buenos Aires.
239:Enrico Prampolini
211:Geraldo de Barros
124:Waldemar Cordeiro
121:
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100:Years active
23:Waldemar Cordeiro
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1326:Official Website
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136:concrete art
132:computer art
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116:Computer art
112:Concrete art
59:(1973-06-30)
1402:1973 deaths
1397:1925 births
770:(1): 23–41.
564:Memberships
76:Nationality
1371:Categories
1194:29 October
1156:29 October
736:References
293:IBM 360/44
167:expressive
163:figurative
128:art critic
95:Art critic
35:1925-04-12
1332:Arteônica
1297:707460289
1255:953870225
1235:Arteônica
1034:497031205
986:707460289
919:889949567
854:982373712
802:: 60–79.
800:MIT Press
791:Grey Room
328:Arteônica
183:São Paulo
103:1946–1973
84:Brazilian
65:São Paulo
1308:Wikidata
1045:Wikidata
997:Wikidata
930:Wikidata
865:Wikidata
816:57566936
619:Wikidata
1358:at the
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187:Brazil
177:Career
69:Brazil
1262:1986.
812:S2CID
465:York)
452:York)
295:with
152:Italy
47:Italy
1293:OCLC
1283:ISBN
1251:OCLC
1196:2018
1158:2018
1145:ISBN
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1030:OCLC
1020:ISBN
982:OCLC
972:ISBN
915:OCLC
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850:OCLC
840:ISBN
225:and
165:and
148:Rome
54:Died
43:Rome
29:Born
804:doi
514:of
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