![]() It was at this crucial moment that the artist began to produce the Parangolés, a sort of fluid garment or cape made of fabric, plastic or paper, to be worn, experienced, lived and danced by the spectator/participant. From his experience in Mangueira onward, Oiticica deepened his reflections on aesthetic experiences beyond the fine arts, incorporating bodily and sensorial, popular and vernacular elements in his work through dance, choreography, music, rhythm and the body. This transformative experience was a watershed in the artist’s life and work. In 1964, Oiticica began to attend the Estação Primeira de Mangueira carnival club in Rio de Janeiro, becoming one of the paraders. Katie White, NovemInstallation view 'Hlio Oiticica' 2020. It is this sense that the show framed at MASP in full year dedicated to the Histories of Dance. Art World Step Into the Sensory World of Hlio Oiticica’s ‘Tropiclia’ at Lisson Gallery With This Video Narrated by the Late Brazilian Artist 'Helio Oiticica' is currently on view across Lisson Gallery's two New York spaces. Although dance was not actually embodied in the artist’s work until the Parangolés in the 1960s, these characteristics can already be observed in his early works, which are seemingly more formal, static or traditional. Oskar, tell us about the Penetrable Rhodislandia. Beginning with this key work implies na examination of Oiticica’s career from end to start, identifying rhythmic, choreographic, dancing and performative elements in his earlier works – from the Metaesquemas, Relevos espaciais, Núcleos, Penetráveis, Bólides and, lastly, the Parangolés. Interview with Oskar Metsavaht, artist and founder of OM art studio, Rio de Janeiro. The show Hélio Oiticica: Dance in My Experience borrows its title from a text by the artist published in 1965, and takes as its starting point the Parangolé, one of his most radical works. Such an acutely conceptual and rigorous oeuvre, with deep seated origins in the language of European constructivism, concretism and geometric abstraction, is also starkly vital, sensual, sensorial, committed to the experience, the participation, and the body (his own and that of the spectator turned participant). His experiments renewed well-known media (drawing, painting, sculpture, object, film, video) as well as a number of them that he himself invented. Among the holdings of Neo-Concrete works are six major constructions by Lygia Clark (1957 to 1965) that map this artist’s radical investigations of painting in relation to new dimensions of space-time as well as the active engagement of the spectator three paintings and an objeto ativo by São Paulo artist Willys de Castro (1926–1988), which question the use of canvas as support for pictorial language and three works by Hércules Barsotti (1914–2010), also from São Paulo, who rigorously explored the two-dimensional surface through his minimal, black-and-white abstractions.Hélio Oiticica was one of the most radical artists of the 20th century, both in the Brazilian and the international panorama. In 1967, Hélio Oiticica was a driving force behind the concept of Nova Objetividade Brasileira, in direct opposition to the international supremacy of Optical and Pop Art. Oiticica named his show Manifestações ambientais (Environmental manifestations), which included capes, tents and flags. The Neo-Concrete group’s emphasis on the reincorporation of subjectivity and the experience of both real time and space in the experience of the viewer-as-participant in the work resulted in daring innovations that are well represented in the Leirner Collection. And this is art A question like this one certainly crossed the minds of many of the people who went to see the exhibition of Rio de Janeiros artist Hélio Oiticica (1937-1980) in 1965. Indeed, the Manifesto neoconcreto was written in reaction to the excessive rationalism of Concrete art practiced by the São Paulo-based members of the Grupo ruptura and the Concretistas. The reopening event took place on November 5th, 2021, during the Brazilian National Culture Day, featuring unpublished works by Hélio Oiticica (1937-1980), including two installations (Penetráveis) created by the artist, but never before open to the audience. Neo-Concretos: Neo-Concretismo came together in March 1959, when the Manifesto neoconcreto was published in the Jornal do Brasil-Rio de Janeiro’s leading newspaper-and signed by a group of Rio de Janeiro and São Paulo artists who had been part of Grupo Frente (1954–56) and Arte concreta. The Hélio Oiticica Municipal Art Center has reopened after some renovations. ![]() ![]() Physical Dimensions: w 55.6 x h 44.7 cm.
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