Question 01 - UFPR 2012 - “The ambition of the [modernist] group was great:to educate Brazil, cure it of literate illiteracy, and, above all, research a new way of expression, compatible with the time of cinema, wireless telegraph, intercontinental air crossings. ”.
(Boaventura, M. E. The Week of Modern Art and Contemporary Criticism:avant-garde and modernity in Brazilian arts. Conference – IEL-Unicamp, 2005, p.5-6. Source:http://www.iar .unicamp.br/dap/vanguarda/artigos.html). According to the excerpt above and the knowledge about the Week of Modern Art of 1922 and subsequent Brazilian modernism, it is correct to say:a) The Week of 1922 marked modernism inspired by European avant-gardes, seeking a new art with an experimental, mixed-race Brazilian identity , anthropophagic and cosmopolitan. The movement celebrated the nation's progress, symbolized by the development of the city of São Paulo. b) The Week was the great landmark of Brazilian modern art, characterized by the search for an imitation of surrealism and cubism, carried out by academics in constant contact with European artists.
c) The Week of 1922 added to turned to Northeastern regionalism to show the roots of Brazilian culture, refusing any interference from foreign art. The modernists thus made a strong critique of Brazilian modernization and literacy. d) Monteiro Lobato and Mário de Andrade led the 1922 Week, which aimed to combine the most recent productions in the field of futuristic music, literature and plastic arts with traditionalist works of Brazilian art. e) The modernists began to organize themselves, after the Week of 1922, to carry out a revolutionary art along the lines of Soviet realism, as they believed in raising the awareness of the population for a change in power.

Question 02 - FUVEST 2003 - Transfer – By inviting Graça Aranha to give the opening lecture of the "Modern Art Week", in February 1922, young people, committed to subverting the concepts of art they considered traditional,
a) proclaimed to the nation their radical break with the Brazilian government's cultural policy.
b) they had no political objective in mind, they just revealed their admiration for the author of "Brasil:País do Futuro".
c) they wanted to show the world who the living model of Macunaíma.
d) they looked for a writer who was as innovative in his art as Villalobos was in music and Anita Malfatti in painting.
e) they revealed that, for them, the support of the São Paulo oligarchy was indispensable for the success of the initiative.

Question 03 - UNIFOR - 2001.1 - The Modern Art Week of 1922, held in the city of São Paulo, identifies with
(A) the social and economic transformations that Brazilian society was going through and the reaction to the dominant agrarian oligarchy.
( B) the aesthetic and moral ideals of the coffee aristocracy, proposed in the informalist manifesto.
(C) the contestation in the field of the arts to the neoliberal and developmental model that characterized the government of President Deodoro da Fonseca.
(D) ) the cultural reaction in favor of impressionism and foreign aesthetic standards, introduced in Brazil by the neo-expressionists.
(And) the contestation of São Paulo's industrialization, as well as the workers' claims expressed in the contextualist manifesto and in postmodernism .

Question 04 - UFF 2000 - “Only anthropophagy unites us (...) Tupi, or not Tupi that is the question (...) Against all importers of canned conscience. The palpable existence of life (...). We were never catechized. We did Carnival. The Indian dressed as a senator of the Empire (...) Plague of the so-called cultured and Christianized peoples, it is against it that we are acting. Antropófagos” (ANDRADE, Oswald. Manifesto Antropófago. SP, 1928)
The excerpt reveals some of the guiding principles of Brazilian modernism, which began in 1922 with the Semana de Arte Moderna. His interpretation suggests:
(A) the expression of Modernism as acceptance of classicist aesthetic standards and academic and conventional art;
(B) a declaration of nationalist principles that criticize the incorporation of American culture and the New;
(C) the association of Anthropophagy with Modernism as one of the currents into which the latter was internally divided, opposing Romanticism;
(D) the consideration of Anthropophagy as a process of cultural devouring of authentically national techniques, aiming to re-elaborate them;
(E) the accentuation of the character of the search for the national identity of modernism by valuing Brazilian roots.

Question 05 - FGV-SP 2012 - Economics - 1st phase - Read the text.
The Week of 22 was not an isolated event without origins. Discussions about the need to renew the arts emerged in the mid-1910s in magazine texts and in exhibitions, such as that of Anita Malfatti in 1917. In 1921 it already exists, by intellectuals such as Oswald de Andrade and Menotti Del Picchia , the intention of transforming the centenary celebrations into a moment of artistic emancipation. (...) (www.itaucultural.org.br)
In general, the artists participating in the Modern Art Week proposed
a) that art, especially literature, abandon concerns with destinations Brazilians and turned to the principle of art for art's sake.
b) the rejection of the conservatism present in Brazilian artistic production, defending new aesthetics and themes, such as the discussion of Brazilian issues.
c) that the artists to establish links with philosophical currents, but not with political and ideological projects, whether progressive or conservative.
d) recognition of the superiority of European art and the importance of Portuguese civilization in the notable Brazilian cultural development.
e) that only the visual arts, especially painting, could represent revolutionary advances towards a truly innovative art.

Question 06 - CEFET-MG - 2011-2 - Technician subsequent - The excerpt below is from the Manifesto Antropófago, written by Oswald de Andrade in 1928.
“Only anthropophagy unites us (...) Tupi, or not Tupi, that is the question (...) canned conscience importers. The palpable existence of life (...). We were never catechized. We did Carnival. The Indian dressed as a senator of the Empire (...) Plague of the so-called cultured and Christianized peoples, it is against it that we are acting. Anthropophages.”
The text presents some of the guiding principles of Brazilian Modernism whose main landmark is the 1922 Modern Art Week. Based on the text and his knowledge, it is correct to say that the author suggests the
a) acceptance of the classicist aesthetic of conventional academic art.
b) rejection of American culture for the repudiation of nationalist principles.
c) appreciation of Brazilian roots to build national identity.
d) devouring of authentically national techniques to re-elaborate them.

Question 07 - CEFET-MG - 2006-1 - Integrated Technician - The Modern Art Week of 1922, an artistic-cultural movement organized to value nationality, aimed to
a) defend the uniformity of artistic models.
b) to promote the dissemination of national artistic models.
>c) reflect the importance of literature over other arts.
d) hinder the propagation of popular art in the media.

Question 08 - UNESP - 2004/2 - 1st day - Between February 11 and 16, 1922, the Modern Art Week was held at the Municipal Theater of São Paulo. According to Mário de Andrade, the changes that took place after the Semana de 22 and the Modernist Movement meant the fusion of three principles:the permanent right to aesthetic research, the updating of Brazilian artistic intelligence and the stabilization of a national creative conscience. consequences of the Modern Art Week:
a) the formation of a generation of artists who broke away from Baroque art; the recognition and appreciation of the artistic expressions of the Italian Renaissance; the formation of groups of artists and modern art salons throughout Brazil.
b) the formation of a generation of academic artists; the recognition and appreciation of the artistic expressions of the French Artistic Mission; the formation of groups of artists and neoclassical art salons.
c) the formation of a generation of artists who broke with the modernist aesthetic; the recognition and appreciation of contemporary artistic expressions; the formation of groups of artists and art salons in São Paulo and Rio de Janeiro destined to modern art exhibitions.
d) the formation of a generation of artists who broke with academic dictates; the recognition and appreciation of the artistic expressions of the primitives; the formation of groups of artists, such as the Clube dos Artistas Modernos and the Sociedade PróArte Moderna de São Paulo.
e) the formation of a generation of artists who broke with the classical style; the recognition and appreciation of the artistic expressions of the Rococo style; the formation of major art exhibitions, such as the Bienal de São Paulo.

GABARITO
01 - A
02 - E
03 - A
04 - E
05 - B
06 - C
07 - B
08 - D