Can the visual manifestations participate critic and reflexively of the great debates of the public space? Usually, during the first years of military regime, the plastic arts believed in this participation, and this faith sustained the public, oppositional and collective activity of the Brazilian vanguards. In this historical context, therefore, this article will analyze some aesthetic and ideological implications presents in the work Movimento estudantil 68, engraving of Antonio Manuel rewarded in the Salão Paranaense of 1968. Movimento estudantil 68 was produced in the political effervescence peak of student movement, but it was exhibited for the public in the first days ofAct Institutional number 5.Thus, this art work will be understood here as a discursive plot, a crossing between history and visuality.
Art and Politics; Brazilian Art; Antonio Manuel
