Esse artigo aborda o conceito de “marginalidade” utilizado pelo crítico de arte Sergio Milliet em sua explicação da arte moderna. O objetivo é aproximar os resultados dessa abordagem do debate entorno da chamada “arte marginal” brasileira da década de 1960. Por meio de oito tópicos, escrito no formato de notas (marginalias) à nossa tese de doutoramento, cruzaremos a reflexão de Milliet com a dos sociólogos norte-americanos Robert Park e Everett Stonequist (criadores do conceito de “marginalidade”) e com temas da arte contemporânea brasileira e sua condição cultural de subdesenvolvimento.
The objective of this work is to analyze the interpretative model of Sergio Milliet about modern art and, from it, demonstrate how it emerges, from his marginality theory to the idea of the modern art death. We will try to circumscribe this problem in the year of 1942, provoking the critical dialogue between Milliet and the others contemporary speeches to him. Through the reflective crossings that were established in this year, we will operate a work of dismounting and mounting of speeches in order to form a confluence point of 1942. The results of this work will be extracted in function of the effect created by the logic arguing of Milliet, its epistemologic bases and by the contacts among several texts found throughout the study.
Key-words:Sergio Milliet, art critic, death of the modern art, death of the modernism, 1942.
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