Classified Magazine
Paulo Bruscky
1978
Classified Magazine
Fullscreen
PAUSE
00:00
A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom ...
Read more
Classified Magazine
Paulo Bruscky
1978
Recife: Self-published
Unpaginated [28 pages]
31.8 × 22 cm

A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).


 


Bruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). Classified Magazine assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.


 


The premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). 


 


In her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. 

Recife: Self-published
Unpaginated [28 pages]
31.8 × 22 cm

A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).

 

Bruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). Classified Magazine assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.

 

The premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). 

 

In her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. 

DESCRIPTION

A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).

 

Bruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). Classified Magazine assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.

 

The premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). 

 

In her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. 

Recife: Self-published
Unpaginated [28 pages]
31.8 × 22 cm

A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).

 

Bruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). Classified Magazine assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.

 

The premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). 

 

In her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. 

MORE BOOKS

A leading figure of conceptual and mail art in Brazil, Paulo Bruscky worked extensively with text, performance, and ephemera. Developed in collaboration with Daniel Santiago, Classified Magazine was conceived as a means of exploring freedom of expression under Brazil’s military dictatorship (1964–1985).

 

Bruscky’s earliest works in this vein took the form of classified advertisements for absurd events, placed in local and international newspapers. Throughout the 1970s and 1980s, he published numerous advertisements under the title “arte desclassificada” (declassified art). Classified Magazine assembles a selection of these quasi-performative interventions, punctuated by collages and stamps. It also offered Bruscky a way of communicating with international Fluxus artists.

 

The premise is deceptively simple: reproducing and recontextualizing classified advertisements from widely circulated newspapers. Yet the performative dimension of each fragment extends beyond the conventions of the genre, opening onto the poetic and the political. One advertisement, for instance, reads: “Saudade não é apenas um bairro em Belo Horizonte, é um sentimento, uma proposta: é arte” (“Saudade is not just a neighborhood in Belo Horizonte; it is a feeling, a proposition: it is art”). 

 

In her study of Bruscky’s publications, art historian Maria do Carmo de Freitas Veneroso situates this publication in particular within a broader rethinking of bookmaking and alternative forms of disseminating political and poetic messages (“A ‘Revista Classificada’ de Paulo Bruscky”, 2015). Paulo Bruscky transformed the utilitarian language of the classified section into a space for reflection and artistic proposition. 

MORE BOOKS