O Samba do Crioulo Doido no Festival Alkantara

ESPECTÁCULO PÓS-OPERATÓRIO
Isabel Torres vs Jerôme Bel vs Luiz de Abreu
Ultimately, it can be said that the cultivated spectator derives the same values from Picasso that the peasent gets from Repin, since what the latter enjoys in Repin is somehow art too, on however low a scale, and he is sent to look at pictures by the same instincts that send the cultivated spectator derives from Picasso are derived at a second remove, as the result of reflection upon the immediate impression left by the plastic values. It is only then that the recognizable, the miraculous and the sympathetic enter. They are not immediately or externally present in Picasso's painting, but must be projected into it by the spectator sensitive enough to react sufficiently to plastic qualities. They belong to the 'reflected' effect. In Repin, on the other hand, the the 'reflected' effect has already been included in the picture, ready for the spectator's unreflective enjoyment. Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and spares him effort, provides him with a short cut to the pleasure of art that detours what is necessarily difficult in genuine art.
Clement Greenberg, "Avant-Garde and Kitsch" (1939)