Ernesto de Sousa, “The One Hundred Days of Documenta 5,” translated from Portuguese by Ruth Rosengarten, originally published as “Os 100 dias da 5ª Documenta,” in Lorenti’s 11 (February 1973) and subsequently in de Sousa, Ser Moderno … Em Portugal (Lisbon, 1989), 55–65 (excerpt)

Ernesto de Sousa was a multidisciplinary artist, curator, and critic linked to the Fluxus movement, which played a central role in the interaction between the Neo-vanguard movements in Portugal. This article was published in the culture section of the generalist magazine Lorenti’s. The silhouette of a man, haughty and peculiarly dressed in white and silk, with a large hat with ear flaps, stood out against the neoclassical facade of the Fridericianum in Kassel. Choosing the theme of imagined reality and images in general, whatever their relation to that reality (and this obviously includes mental images), and simultaneously expanding and deepening this exploration, it was inevitable that a certain atmosphere should settle; at best, a veritable buzz of modernity. A poetic exploration of the (biological, mathematical) so-called Fibonacci series was one of the strands he explored.