Coleção Berardo (1960–2010)

Coleção Berardo (1960–2010)
Temporary exhibition
- 16/10/2018
Coleção Berardo (1960–2010)
Temporary exhibition
- 16/10/2018

On this floor, the presentation of the museum collection is dedicated to the period beginning in 1960 and extending over five decades. The exhibition brings together the most significant neo-avant-garde artistic movements, such as Minimalism, Conceptualism, Post-Minimalism, Land art, and Arte Povera, among others. During the course of these movements, the art object underwent a profound transfiguration of its traditional categories; implied in its manifestation now was the realisation of assumptions only previously glimpsed at by the historic vanguards, later to be reconfigured.

The journey begins with Minimalist experiments that claimed for the art object the primacy of perceptual experience over and above linguistic knowledge, giving rise to a further development of sensorialism, no longer confined to the field of vision, but now stretching to all movements of the observer’s body. The role of verbal language and its relationship with images (usually photographic) probed by Conceptualism determines another order for the art object, which has now lost its link to manual craftsmanship, positioning itself as an idea of what the object might be as art. If Minimalism had placed value on industrially produced objects, Italian Arte Povera confronted this technological determination with the value of natural substances and their poetic legacy, engaged in a critical dialectic. In its turn, Land art expanded the field of artistic action out into the landscape and from it into the museum. The emergence of the body as a medium of artistic realisation concerned various artists at the beginning of the 1970s, and their works remain as documents of actions memorialised in such testimonies. In addition to all this, we are shown the emergence of video as an artistic practice, with the diversity of positions that give rise to it; and the new German photography: systematic, documenting the monuments of an economic order, stemming from a culture that had rejected the art object itself.

In this sweep of five intense decades, some of the principal positions of Western art in the third quarter of the 20th century and the first decade of the 21st century are staked out.

Pedro Lapa

Secondary text: 

Systemic painting
Revolutionary Body
Nam June Paik and Bill Viola
James Turrel
Support-Surface and BMPT
Land art

Arte Povera
Christian Boltanski
Jeff Wall
The return of genre
German photography
Nan Goldin
Traumatic realism
Jorge Molder
Discourses of alterity
Gabriel Orozco
João Tabarra
Stan Douglas

Vito Acconci
Helena Almeida
Carl Andre
Giovanni Anselmo
Art & Language
Bernd & Hilla Becher
Larry Bell
Ashley Bickerton
Alighiero Boetti
Christian Boltanski
Louise Bourgeois
Daniel Buren
Tony Cragg
Richard Deacon
Stan Douglas
Jimmie Durham
Dan Flavin
Hamish Fulton
Robert Gober
Dan Graham
Nan Goldin
Douglas Gordon
Dan Graham
Andreas Gursky
Jenny Holzer
Rebecca Horn
Donald Judd
Anish Kapoor
On Kawara
Ellsworth Kelly
Jeff Koons
Joseph Kosuth
Jannis Kounellis
Sol LeWitt
Richard Long
Robert Mangold
Agnes Martin
Allan McCollum
Ana Mendieta
Mario Merz
Jorge Molder
Olivier Mosset
Matt Mullican
Bruce Nauman
Manuel Ocampo
Dennis Oppenheim
Gabriel Orozco
Tony Oursler
Nam June Paik
Pino Pascali
Giuseppe Penone
Michelangelo Pistoletto
Sigmar Polke
Richard Prince
Pedro Cabrita Reis
Gerhard Richter
Ulrich Rückriem
Thomas Ruff
Robert Ryman
Julião Sarmento
Richard Serra
Ernesto de Sousa
Haim Steinbach
Frank Stella
João Tabarra
Rosemarie Trockel
James Turrell
Adriana Varejão
Claude Viallat
Pires Vieira
Bill Viola
Wolf Vostell
Jeff Wall
Sue Williams
Lawrence Weiner
Gilberto Zorio