Brazil in the “Renewed International Solidarity” of Biennials (1947‑51)
Abstract
After a six‑year suspension, the 24th Venice Biennale reopened in 1948 with a strong international focus and a desire for “renewed international solidarity”, as stated by its General Secretary, Rodolfo Pallucchini. By late 1947, correspondence from Italo‑Brazilian figures in São Paulo showed interest in including Brazil in the Venice Biennale through their recently established institutions: Anna Maria and Pasquale Fiocca of Domus Gallery, Francisco Matarazzo of Museum of Modern Art – MAM, and Pietro Maria Bardi of Museum of Art – MASP. Pallucchini proposed collaborations between Domus Gallery and MAM for the 24th Venice Biennale and, later, between MAM and MASP for the 25th. Despite these efforts, Brazil could not send artworks in 1948, though its name appeared in the catalogue. Brazilian participation was finally realized in 1950, with Francisco Matarazzo’s MAM and Bardi as co‑curator of the retrospective exhibition of Ernesto De Fiori. Thus, this essay analyzes the political disputes between MAM and MASP over Brazilian Biennale participation and explores how the Venice Biennale inspired the creation of the São Paulo Biennial, enhancing Brazil’s standing in the global cultural scene.
Submitted: Nov. 19, 2024 | Accepted: March 26, 2025 | Published July 24, 2025 | Language: en
Keywords Pietro Maria Bardi • International cultural relations • Francisco Matarazzo • São Paulo Art Biennial • Venice Biennale
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