The Italian Representation by the Venice Biennale at the São Paulo Biennale, from 1951 to 1973

Dr. Marina Barzon Silva

This research project investigates Italy's artistic representation at the São Paulo Biennale between 1951 and 1973.  The direct inspiration for the São Paulo Biennale’s foundation was the Venice Biennale; however, unlike its Italian counterpart, the Brazilian event was a private initiative, championed by the self-made entrepreneur Francisco Matarazzo Sobrinho, known as Ciccillo. The time frame was determinated by coinciding the ending of Ciccillo’s presidancy of the São Paulo’s institution with the Venice Biennale's direct responsibility for selecting and organizing Italy's national participation, a role that ended with its own institutional restructuring in 1973.

A key shift this research proposes in an international context is a change in perspective: rather than solely focusing on how the “First World” art circles perceived Brazilian art, it considers how Brazilian critics, interpreted Italian artistic production at the time, annalysing how Italy sought to shape its cultural image in this emerging artistic hub and how it exercised influence through the São Paulo Biennale, which played a fundamental role in consolidating Brazilian modern art.

Using this case study, the project examines the mechanisms of cultural diplomacy and soft power in the postwar Italian-Brazilian relationship. Furthermore, it reveals the central role of the Venice Biennale in crafting Italy's international artistic identity, specifically within the Brazilian context. This research ultimately contributes to broader discourses on transnational artistic networks and cultural diplomacy during the mid-twentieth century.