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debunking the academic

When one produces a work that is destined for eternity, there is a difference. I always worked with the disposable in mind. I did illustrations for the magazine Os Reis do Iê-Iê-Iê (The Kings of yeah, yeah, yeah), and it was precisely this that interested me, not those high-class esthetic categories, so prized by the critics of the time. Even though, on the other hand, one cannot pretend that anything made here in Brazil is going to have a high degree of originality or an absolute independence distinguishing it from artistic manifestations in other countries. Modernity cannot be something in isolation or xenophobic. The aim of a universal sound and a whole string of things in Tropicália was to shake up these concepts. We were going through a process of debunking the academic. Even though our attitude to experimentation was not linear, it was simply taking an already existing model to see if it would work here. The new does not occur in this way. But something natural, anthropophagic, peculiar to the Brazilian creative process does. I see it from this angle, and not as a manipulated attempt at using a model.

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Três trópicos da tropicália