For the history of brazilian modernism, the arrival of Max Bill’s art in Brazil 1950, his retrospective in the Museum of Art in São Paulo and the first prize in the Biennale I in São Paulo 1951 were together of special importance. A young generation of brazilian artists went on distance to expressive art and strict geometry of the Conretismo. They were sustainably impressed by the art of Max Bill.They pushed a sensual-lyrical handling of geometrie involving the observer which led to the so called Neoconcretismo.
Sixty years later the Brasilea Foundation shows a group exhibition of the brazilian artists Almir Mavignier, Carlos Muniz and Luiz Dolino, each of them exhibiting five artworks. Almir Mavignier studied between 1953-1958 at the College of Design in Ulm,visited classes held by Max Bill and is still an important reference for the artists Carlos Muniz and Luiz Dolino. T he presence of Max Bill in Brazil led to an independent language of the brazilian modernism and is noticeable in an exciting trialog of the fifteen exhibited works.