Arthur Bispo do Rosário, paciente psiquiátrico que representou o Brasil na Bienal de Veneza de 1995, talvez seja o artista outsider mais conhecido do país. A análise que proponho de sua obra considera o significado de respeitar os direitos dos loucos, abordando seus trabalhos pela perspectiva da arte contemporânea. Bispo nunca atribuiu estatuto artístico à sua produção. Investigo se classificar seu trabalho como arte contemporânea, como faz Frederico Morais, não abandona um tipo de controle epistêmico (o psiquiátrico) para adotar outro: um formalismo estético atemporal. Defendo a necessidade de mais estudos para compreender como Bispo, cuja identificação psicopatológica se confunde com a discriminação de raça e de classe, se tornou um dos artistas brasileiros de maior prestígio.
What does looking to the art produced by psychiatric patients bring to our understanding of modernism and the rise of geometric abstraction in Rio de Janeiro in the mid-twentieth century? This article explores Brazilian critic Mário Pedrosa's early theses on the psychology of form in relation to his reception of psychiatric patients' creative production. In his early writings on Gestalt, Pedrosa insisted on the autonomy of form and on a modern global, or comprehensive, perception and critiqued bourgeois rationality for its exclusion of the mentally ill. To understand the historical and cultural specificity of Pedrosa's aesthetics of reception, I turn to Rio-based psychiatrist Dr. Nise da Silveira—it is in large measure her work and that of her patients, which stand at the center of this competing account of mid-century aesthetics in Brazil.
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