Vol. 4 No. 1 (2020)

Editorial

01-08

MODOS. Revista de História da Arte

https://doi.org/10.24978/mod.v4i1.4533

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DOI: https://doi.org/10.24978/mod.v4i1.4533

Articles - Collaborations

Stefania Portinari

09-18

Bidibidobidiboo: Details of deception and irruptions in Maurizio Cattelan’s inventions

https://doi.org/10.24978/mod.v4i1.4524

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DOI: https://doi.org/10.24978/mod.v4i1.4524

Janaina Silva Xavier

20-34

Faxinal das Artes: The constitution of a museum collection from an artistic residence

https://doi.org/10.24978/mod.v4i1.4381

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DOI: https://doi.org/10.24978/mod.v4i1.4381

Alejandra Hernández Muñoz

36-51

Manifesta and Vila Sul: Diasporas, displacements and migrations through contemporary art events and programs

https://doi.org/10.24978/mod.v4i1.4534

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DOI: https://doi.org/10.24978/mod.v4i1.4534

Guilherme Moreira Santos

53-70

The first reception of Minimal Art in Brazil in 1965: An interpretative tension

https://doi.org/10.24978/mod.v4i1.4326

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DOI: https://doi.org/10.24978/mod.v4i1.4326

Melissa Rocha

72-84

We didn’t know: A path about photography, archive and art violence

https://doi.org/10.24978/mod.v4i1.4528

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DOI: https://doi.org/10.24978/mod.v4i1.4528

Intersections of exile

Leonor de Oliveira, Maria de Fátima Morethy Couto

86-90

Presentation: Intersections of exile: transnational artistic networks, associations and collaborations

https://doi.org/10.24978/mod.v4i1.4526

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DOI: https://doi.org/10.24978/mod.v4i1.4526

Joana Baião, Leonor de Oliveira

92-111

New Paths of Figuration: The Migration of Portuguese Artists to London and Paris in the Post-War Period

https://doi.org/10.24978/mod.v4i1.4358

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DOI: https://doi.org/10.24978/mod.v4i1.4358

Angela Grando

113-133

Cícero Dias in Lisbon, "a poetic and imagined vision of reality": "Uma poética e imaginada visão da realidade"

https://doi.org/10.24978/mod.v4i1.4351

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DOI: https://doi.org/10.24978/mod.v4i1.4351

Katarzyna Cytlak

135-150

From "Ideological Conceptualism" to "Socialist Conceptualism: The years of exile of the Chilean poet and artist Guillermo Deisler in Bulgaria (1973-1986)

https://doi.org/10.24978/mod.v4i1.4409

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DOI: https://doi.org/10.24978/mod.v4i1.4409

David A. J. Murrieta Flores

152-165

International Movement vs. Organization: The Situationist Times and the Situationist International (1962-1967)

https://doi.org/10.24978/mod.v4i1.4535

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DOI: https://doi.org/10.24978/mod.v4i1.4535

Maria Frick

167-187

The Savages of South: Immigration and Expressionism in Uruguay in the first half of the 20th century

https://doi.org/10.24978/mod.v4i1.4538

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DOI: https://doi.org/10.24978/mod.v4i1.4538

Fernanda Marinho

189-204

Bernard Berenson, Lionello Venturi and the Italian Art Critic: An Introduction to Epistolary (1907-1957)

https://doi.org/10.24978/mod.v4i1.4283

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DOI: https://doi.org/10.24978/mod.v4i1.4283

Laura Moure Cecchini

205-225

1930: Margherita Sarfatti entre Buenos Aires, Roma e Milão

https://doi.org/10.24978/mod.v4i1.4523

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DOI: https://doi.org/10.24978/mod.v4i1.4523

Ana Gonçalves Magalhães

225-239

Bernard Berenson, Margherita Sarfatti, and the Porteño artistic milieu of the aftermath of World War II

https://doi.org/10.24978/mod.v4i1.4536

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DOI: https://doi.org/10.24978/mod.v4i1.4536

Paolo Rusconi

241-253

“Un’idea del Brasile”: Pietro Maria Bardi’s second life

https://doi.org/10.24978/mod.v4i1.4537

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DOI: https://doi.org/10.24978/mod.v4i1.4537