Abstract
This article examines the emergence of Lyrical ion in Brazil in the late 1950s. Mostly forgotten in the contemporary moment in favour of Geometric ion, the author reconsiders the rivalry between these two forms of abstract art and the influence on European styles of Art Informel and Tachisme. Lyrical ion was predominantly practiced by Japanese immigrants in Brazil, and as a result the artists and their art challenged the category of national art as formed by European colonisation. Through the case study of Japanese Brazilian artist Manabu Mabe, the author argues for Lyrical ion as a transnational art that brings together Japanese, European and Brazilian influences. Brazilian lyrical abstraction disorders the idea of national art as defined only in contrast to the international, the typical binary throughout the history of Brazilian modern art.
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