Abstract
This article, stemming from PhD research, critically examines the modernity of the São Paulo Museum of Art (MASP) during its formative years (1947-1968). It reflects on the presence of the “Ancient” within the museum, a phenomenon termed the “ambivalence of MASP.” The study delves into the conceptual underpinnings of MASP’s founders, Pietro Maria and Lina Bo Bardi, alongside an analysis of the international museological discourse, including ICOM’s proposals and Bardi’s direct engagement with these principles in 1947. Key areas explored include the motivations behind MASP’s creation, the innovative Didactic Exhibitions and Vitrine of Forms, the museum’s unique museography, and the development of its collection and exhibitions. The paper investigates how these elements contributed to the enduring philosophy that shapes the museum today. Ultimately, this work aims to initiate a discussion on the contemporary social role of museums, particularly those in the Global South, and how their foundational structures can influence and reflect on pressing issues such as diversity, decolonization, and inclusion.
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
KEYWORDS
MASP, BRAZIL, GLOBAL, SOUTH, DECOLONISATION, INCLUSION
