![]() ![]() Text by Lynn Zelevansky, Cesar Oiticica Filho. The text traces the evolution of Oiticica’s multidisciplinary practice and underlines the cosmological ideas that guided his approach to art and life, demonstrating the profound impact Oiticica's ideas had on the wider art world, both past and present.įORMAT: Clth, 9.5 x 12 in. But the thinking behind their work and his was, in its way. Stretching from the mid 1950s to the artist’s death, the arc of his production begins with small, apolitical, abstract-geometric paintings, and ends in sensory-laden immersive environments and politically charged participatory projects. Large-scale projects such as his monumental installation Tropicália (1966–67), which satirizes the idea of Brazil as a tropical paradise, are documented alongside his works on paper and textile pieces. His art, like theirs, was abstract: A 1955 Oiticica painting a bright checkerboard of mango-yellow and red opens the show. 1980, Rio de Janeiro) is a major figure in the history of late 20th-century art. Oiticica prioritized the inclusive and participatory possibilities of art, represented through his forays into environmental art and interactive installation. This volume demonstrates the numerous ways in which Oiticica’s work explored and expanded formal artistic modes, pushing past the boundaries of color and structure. As Mario Pedrosa writes in “Os Projetos de Helio Oiticica” (1961): “Emphasizing the itinerary, the Penetrables constitute an invitation to travel, without any romantic pathos, despite their unequivocal ethic resonance.A concise introduction to the pioneering formal and social innovations of the Neoconcretist and Tropicália protagonistīrazilian artist Hélio Oiticica’s (1937–80) oeuvre remains an indisputable influence on all aspects of avant-garde culture in his home country and abroad, from visual art to music, theater, literature and beyond. The public moves along edges, explores cavities, stairs, doors, and curtains, interconnecting spaces and discovering hidden spaces. And it is the responsibility of the spectator, of the public, to articulate the artistic and the non-artistic elements presented by the artist. This ceases to be an introverted reflective activity and becomes an articulation of bodies and materials. They are installations built like labyrinths that seek to induce sensory experiences in those who walk through them, establishing an interactive relationship between the work and the public. ![]() The Penetrables function as transformation devices they restate the symbolic and the aesthetic experience. The structure of the work may be perceived only after the presentation of all the mobile parts, hidden from one another, for which reason it is impossible to see them all at the same time.” These works are like human-scale mobile frescoes, and most importantly, they are penetrable. In 1961, Oiticica wrote about the Penetrables: ”Here, color breaks away from the decorative and the architectonic…to become purely aesthetic, experienced (lived). Not only are the Penetrables a natural progression in his work, but they also lend continuity to the history of art. ![]() Hélio Oiticica, one of the most influential 20th century artists, investigates color in space in a unique and continuous oeuvre. Oiticica draws inspiration from the favelas in Rio de Janeiro, and he succeeds in achieving one of his main goals: that of combining art and life, and providing “life experiences”.ĭespite the fact that the Penetrables were created in the 1960s and 1970s, the participation of the public in the work through their physical experience endows these pieces with a long-standing validity. 1980, Rio de Janeiro) is a major figure in the history of late 20th-century art. Created on the year before the artist’s demise, Penetrável PN28 “Nas Quebradas” guides visitors across an architectonic structure made of wood, bricks and yellow panels with a jute roof. Penetrável Filtro allows visitors to wander along the corridors and between the curtains in several shades of green, blue, yellow and orange. ![]() One of the largest penetrables, Penetrável Filtro, draws on the concepts on which Penetrável PN1 is based, using a larger scale and a labyrinthine structure. Penetrável PN1, which Oiticica created in 1960, is a small corridor composed of bright yellow gliding panels which the spectators may move in order to activate the work. ![]()
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