Brazilian artist Paulo Bruscky started his career, and developed a significant part of it, as the military was solidifying its hold of the country after the coup of 1964. Like many artists of the post-concrete generation, it was only inevitable that Bruscky would reflect in his work the jarring new environment imposed by the military on civil society. The shutting down of humanities courses in universities around the country, as well as the persecution of student and union leaders, for instance, gives a measure of how deep the need for control had become. In 1975, the killing of journalist and playwright Vladimir Herzog during a police interrogation sent out a chilling message that the news media was no longer an independent institution—or any kind of communication, for that matter. Despite this paranoid backdrop, Bruscky went on to develop a body of work based largely on the dissemination of messages (postcards, newspapers ads, billboards) and audience participation. More to the point, he managed to do it for the most part in his native Recife, a city steeped in tradition and wary of the avant-garde.
- Sun. Nov 3, 11:00 am