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No trecho do segundo parágrafo “Nevertheless, a military - UNESP 2020

Leia o texto sobre uma exposição no museu Tate Modern, em Londres, para responder às questões de 27 a 30.

(Hélio Oiticica. Tropicália, Penetrables PN2 “Purity is a myth” and PN3 “Imagetical”, 1966-1967.)

Tropicália

Tropicália is used to describe the explosion of cultural creativity in Rio de Janeiro and São Paulo in 1968 as Brazil’s military regime tightened its grip on power.
Many of the artists, writers and musicians associated with Tropicália came of age during the 1950s in a time of intense optimism when the cultural world had been encouraged to play a central role in the creation of a democratic, socially just and modern Brazil. Nevertheless, a military coup in 1964 had brought to power a right-wing regime at odds with the concerns of left-wing artists. Tropicália became a way of exposing the contradictions of modernisation under such an authoritarian rule.
The word Tropicália comes from an installation by the artist Hélio Oiticica, who created environments that were designed to encourage the viewer’s emotional and intellectual participation. Oiticica called them “penetrables” because people were originally encouraged to enter them. They mimic the improvised, colourful dwellings in Rio de Janeiro’s favelas, or shanty towns. The lush plants and sand help to convey a sense of the tropical character of the city. When Oiticica exhibited the work, he also included live parrots.
From its beginning, Tropicália was seen as a rearticulation of Anthropophagia (“cannibalism”), an artistic ideology promoted by Oswald de Andrade.

(www.tate.org.uk. Adaptado.)

No trecho do segundo parágrafo “Nevertheless, a military coup in 1964”, o termo sublinhado indica

1. contraste.

2. consequência.

3. opinião.

4. aprovação.

5. alternativa.

Solução