Waldemar Cordeiro

Cordeiro was born in Rome, Italy to a Brazilian father and an Italian mother. He had dual citizenship.[3]

Cordeiro studied at the Accademia di Belle Arti in Rome.[4]^:162 At Accademia di Belle Arti, Cordeiro painted in the figurative and expressive art styles. During this time, he began to study the work of Antonio Gramsci, who was deeply influential to his career.[1]

In 1949, when he was in his mid-20s, Cordeiro emigrated to São Paulo, Brazil.[1] In Brazil, Cordeiro worked as a painter, art critic, and journalist, notably at Folha da Manhã in São Paulo.[5][6]

Through this work at Folha da Manhã, Cordeiro was the self-appointed leader of the Arte Concrete community, made up of artists who came from a diverse immigrant backgrounds, such as Anatol Wladyslaw, Geraldo de Barros, Lothar Charoux, Luiz Sacilotto, Kazmer Fejer and Leopoldo Haar. Cordiero gathered the artists together as extension of a 1948 exhibition at the Prestes Maia Gallery, where the newly emerging artists had their work first shown.[5][6]^:44–45

Initially, Cordeiro painted using a traditionally figurative and expressive style. In the late 1940s, as he developed as an artist, he began to transform forms made up of geometric shapes into a free expression of experimentation with sequences of shapes.[7] Through this work, Cordeiro became known as a pioneer of the concrete art movement in Latin America, specifically Brazil.[5]

In 1952, he co-founded Grupo Ruptura, the Sāo Paulo branch of the Brazilian Concrete art movement. Cordeiro was the group's main theorist.[8] As Grupo Ruptura's main theoretician, he supported the group's rationalist position, openly opposed to the principles put forward by the Rio group led by the art critic Ferreira Gullar.[5] At the Ruptura exhibition in 1952, Cordeiro distributed the Ruptura manifesto, which was seen as a radical statement of the group's intention to reject the old and embrace a new approach that included development of abstractionism, free of all representational references.[8] Cordeiro's confrontative approach was informed a rejection of elitism, as many of the artists in Grupo Ruptura as well as Cordeiro himself came from working-class backgrounds and had a focus on populism expressed by geometric abstractionism.[6]^:47

In 1953, he met Tomás Maldonado in Buenos Aires.[5]

In 1956, Cordeiro staged the first Exposicão Nacional de Arte Concreta.[5]

From 1957 to 1959, in the series Idéais visíveis, Cordeiro created abstract paintings made up of structural principles and logical concepts.[5]

In 1964, Cordeiro developed a process where he blended the features of pop and concrete art, Augusto de Campos named "pop creto." Corediro then incorporated neo-figurative art.[5]

In 1968, Cordeiro was the first Brazilian artist to work within the field of electronic technology (digital and computer graphic design). He created computer art on the IBM 360/44 with Giorgio Moscati, a physicist at the Physics Department of the University of São Paulo.[1]

In 1971, he organized an international group exhibition showcasing electronic technology, which was a newly emerging artform. This show, "Arteônica," was held at the Museu de Arte Brasileira de la Fundação Armando Alvares Penteado in São Paulo, Brazil.[5]

Additionally, from 1950 to his death in 1973, Cordeiro took part in over 150 urban planning projects as a practical application of many of the theories of his work.[5]

At the end of the 60's, Cordeiro introduced the computer to his creation system, with "derivatives of an image (1969)", made with Giorgio Moscati, in the IBM 360 of the University of São Paulo, inaugurating with this work the “computer art "in Brazil. His goal was to translate a photographic image into a numerical model, this by means of a computer language.[9] In 1971, Cordeiro uses a photograph of a Vietnamese girl, burned by a napalm bomb, transforming it into thousands of points by the digital process of the computer.[9]

Cordeiro organizes the international exhibition ARTEONICA (1971), in the Armando Alvares Penteado Foundation, in this exhibition highlights the democratizing aspects of the telematics arts, not exploited in that region until the 80's.[9]

According to Cordeiro himself, this project aims to perform interdisciplinary works, taking advantage of the fields of psychology and convergent computing in art.[10]

Through Arteônica, Cordeiro highlighted some problems, such as the way in which works are consumed, mechanical or electronic reproductions, where information tends to be lost and therefore meaningless. "The change of communication is the change of information" says the artist.[10]

Along with the engineer Giorgio Moscati, Cordeiro produced his works "Transformação em Grau Zero / Transformação em Grau 1 / Transformação em Grau 2", which appropriate a poster for Valentine's Day, to build the image, this work is the first of its kind in Brazil (made by a computer).[10]

The computer used was an IBM / 360-44, which was used by Moscati at the University of São Paulo, which performed mathematical operations with a memory of 32 kbytes. The process worked based on a package of punched cards with the program to be executed, which could take hours, days or weeks, depending on the expected result.[10]

• Fundación Cisneros, Colección Patricia Phelps de Cisneros (Caracas, Venezuela / New York, New York)
• Museu de Arte Contemporânea da Universidade de São Paulo (São Paulo, Brazil)
• Museu de Arte de Brasília, Brasília, Brazil
• Museum of Fine Arts (Houston, Texas)
• Pinacoteca do Estado de São Paulo (São Paulo, Brazil)
• The Ella Fontanals-Cisneros Collection, Cisneros Fontanals Art Foundation (Miami, Florida)

• Computer Art Society (London, England) – Cordeiro was first Brazilian to hold membership

• 1959: Prêmio Leirner de Arte Contemporânea
• 1965: Bienal de São Paulo, Prêmio Itamaraty
• 1967: Bienal de São Paulo, Prêmio Itamaraty

• Idéia visível (Visible Idea) at the Museum of Fine Arts, Houston (1956) – Industrial latex paint on plywood laminate panel Wikidata ()
• Derivadas de Uma Imagem (Derivatives of an Image) by Waldemar Cordeiro and Giorgio Moscati. (1969) – First visual computer artwork made in Brazil
• Retrato de Fabiana (Portrait of Fabiana) by Waldemar Cordeiro and Ernesto Vita, Jr. (1970) – sequential work composed of four images
• A Mulher que não ê B.B. (The Woman Who Is Not B.B.) by Waldemar Cordeiro, José Luiz Aguirre and Estevam Roberto Serafim (1971)
• Gente, Grau 1 (People, Degree 1) by Waldemar Cordeiro, Raul Fernando Dada and J. Soares Sobrinho. (1972)
• Gente, Grau 6 (People, Degree 6) by Waldemar Cordeiro, Raul Fernando Dada and J. Soares Sobrinho. (1972)
• Gente Ampli*2 at the Museum of Modern Art (1972) – computer output on paper
• Pirambu by Waldemar Cordeiro, N. Machado and Raul Fernando Dada (1973) – digital printout
• The Woman Who is Not B.B. (A mulher que não é B.B.) at the Museum of Modern Art (1971, printed 1973) – lithograph

• Cordeiro, Waldemar; Sacilotto, Luís (1952). "Manifesto Ruptura" (Offset lithograph). Museum of Fine Arts, Houston.
• Cordeiro, Waldemar. Arteônica. O uso criativo de meios electrônicos nas artes. São Paulo: Universidade de São Paulo, 1972.
• Cordeiro, Waldemar. "Arte analógica e/ou digital," in Arte: Novos Meios/Multimeios. Brasil '70/'80 (São Paulo: Fundação Armando Alvares Penteado, 1985) pp. 191–192.
• Cordeiro, Waldemar. Salão de sombras. Recife: Prefeitura da Cidade do Recife, Secretaria de Educação e Cultura, Conselho Municipal de Cultura, Fundação de Cultura Cidade do Recife, 1992 (Poems)

• Cordeiro, Waldemar; Kac, Eduardo (translated by) (1972). Cordeiro, Waldemar (ed.). Arteônica. São Paulo: Editora das Americas. pp. 3–4. – catalog of an international exhibition of computer art organized by Cordeiro and shown at the Fundação Armando Alvares Penteado, São Paulo, 1971
• Wilder, Gabriela Suzana (1982). Waldemar Cordeiro: Pintor Vanguardista, Difusor, Crítico de Arte, Teôrico e Líder do Movimento Concretista nas Artes Plásticas de São Paulo na Década de 50 (Waldemar Cordeiro: Vanguard Painter, Promoter, Art Critic, Theoretician and Leader of the Concrete Art Movement in the 1950s) (Thesis/dissertation) (in Portuguese). São Paulo: Escola de Comunicações e Artes da Universidade de São Paulo. OCLC 953870225.
• Moscati, Giorgio, Ana Maria Belluzzo and Aracy Abreu Amaral. Arte e computação. Um depoimento do Prof. Giorgio Moscati a proposito de sua experiência de trabalho com Waldemar Cordeiro, pioneiro da arte por computação no Brasil. São Paulo: Museu de Arte Contemporânea da Universidade de São Paulo, 1986.
• Fabris, Annateresa. “Waldemar Cordeiro. Computer Art Pioneer.” Leonardo, vol. 30, no. 1 (Cambridge, 1997): 27–31.
• Cordeiro, Waldemar. “Arteônica. Electronic Art.” Leonardo, vol. 30, no. 1 (Cambridge, 1997): 33–34.
• Teles De Paula, Ney. “Waldemar Cordeiro. O computador e a arte,” in Teles De Paula, Ney. A escada de Jacó e outros escritos. Goiânia: Kelps, 2005.
• Suárez, Osbel (exhibition concept and guest curator); García, María Amalia; Agnew, Michael (translations) (2011). Witschey, Erica; Fundación Juan March (eds.). Cold America: Geometric Abstraction in Latin América (1934–1973) (Exhibition catalog). Madrid: Fundación Juan March. ISBN 978-84-7075-588-0. OCLC 707460289.  Wikidata () – Exhibition catalog of Cold America, Geometric Abstraction in Latin America (1934–1973), Fundación Juan March, Madrid, February 11-May 15, 2011

• Waldemar Cordeiro - Official Website
• Arteônica
• Waldemar Cordeiro at the Museum of Modern Art
• Waldemar Cordeiro at the Museum of Fine Arts, Houston
• Waldemar Cordeiro at the Enciclopédia Itaú Cultural