Abstract

Contrary to the thesis of a thorough homology between the demystifying vocation of modernism and the profanatory tendencies of capitalist dynamics, the work of Roberto Schwarz seems to provide elements for a more nuanced conception of the modernist experience. While denouncing the setback caused by the routinisation of artistic strategies of Verfremdung, the Brazilian critic remains reluctant to accept the postmodernist assumption that any attempt to give consequence to the modernist universe in changed circumstances is necessarily doomed to failure. To be sure, works that uncritically reproduce modernist tropes and tactics of representing reality in a dislocated way in order to provoke surprise, as advertisements do, are indeed bound to falter. But as long as they let themselves be informed at every stage by a critical inadequacy to the commodified world, modernist approaches may retain a critical value within an increasingly virulent anti-modernist culture.