A Look at the History of Art in B. H. (page 6 of 6)
The decline of neovanguard expression started in the eighties, when artists started working in a more introspective manner, exploring the poetic possibilities of each language and turning toward the ups and downs of the art market. Contemporary art in Belo Horizonte presents a confrontation of perspectives which in the early eighties surges as a libertarian rapture and warring chant against all dogmas, including the modern ones, and in the nineties taking on dramatic and melancholic colors (18).
The contemporary artist isn't anymore that rebel questioning the status quo, but a player who knows how to play well within the established system, without losing sight of the quality of his work, as for example Ana Horta, Marco Túlio Resende, Isaura Pena and Mônica Sartori, who launched the inaugural gesture of neo-expressionist painting and design; Fernando Lucchesi, inventor of installations and neo-baroque objects; José Bento, constructor of monumental sculptures inserted in the urban space; Solange Pessoa, Roberto Bethônico and Rivane Neusenschwanter, producer of objects and installations for experimenting with organic materials; Rosângela Rennó, Eustáquio Neves and Cao Guimarães, inventors of new photographic images; Roberto Moreira and Éder Santos, creators of videos on supports loaded with memories of local traditions; Lindsley Daibert, a researcher of virtual scuptures; and other emerging artists who reveal singular poetics based on experiences with various types of materials and supports.
Contemporary art marks the advent of the post-modern time by recording the present moment, here and now, without pretending to create a utopian world as was suggested by the vanguard and neovanguard. It becomes part of the artistic circle without placing radical questions and is aware of the decline of modern tradition centered on the idealistic tension between the new and the old, turning toward a day-to-day artistic making and to the fight for survival within a competitive society, inserted in the process of globalization (19).
Marília Andrés Ribeiro and Fernando Pedro da Silva
Coordinators of the project "One Century of the History of Plastic Arts in Belo Horizonte".
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The decline of neovanguard expression started in the eighties, when artists started working in a more introspective manner, exploring the poetic possibilities of each language and turning toward the ups and downs of the art market. Contemporary art in Belo Horizonte presents a confrontation of perspectives which in the early eighties surges as a libertarian rapture and warring chant against all dogmas, including the modern ones, and in the nineties taking on dramatic and melancholic colors 
The contemporary artist isn't anymore that rebel questioning the status quo, but a player who knows how to play well within the established system, without losing sight of the quality of his work, as for example Ana Horta, Marco Túlio Resende, Isaura Pena and Mônica Sartori, who launched the inaugural gesture of neo-expressionist painting and design; Fernando Lucchesi, inventor of installations and neo-baroque objects; José Bento, constructor of monumental sculptures inserted in the urban space; Solange Pessoa, Roberto Bethônico and Rivane Neusenschwanter, producer of objects and installations for experimenting with organic materials; Rosângela Rennó, Eustáquio Neves and Cao Guimarães, inventors of new photographic images; Roberto Moreira and Éder Santos, creators of videos on supports loaded with memories of local traditions; Lindsley Daibert, a researcher of virtual scuptures; and other emerging artists who reveal singular poetics based on experiences with various types of materials and supports.
Contemporary art marks the advent of the post-modern time by recording the present moment, here and now, without pretending to create a utopian world as was suggested by the vanguard and neovanguard. It becomes part of the artistic circle without placing radical questions and is aware of the decline of modern tradition centered on the idealistic tension between the new and the old, turning toward a day-to-day artistic making and to the fight for survival within a competitive society, inserted in the process of globalization