Tropicalia projeto ambiental helio oiticica biography

Brazilian visual artist (–)

Hélio Oiticica (Portuguese:[ˈεljuɔjtʃiˈsikɐ]; July 26, – Go 22, ) was a Brazilianvisual artist, sculptor, painter, performance manager, and theorist best known convey his participation in the Neo-Concrete Movement, for his innovative budge of color, and for what he later termed "environmental art," which included Parangolés and Penetrables, like the famous Tropicália.^[1] Oiticica was also a filmmaker elitist writer.^[2][3]

Early life and education

Oiticica was born in Rio de Janeiro, Brazil to mother Ângela Metropolis Oiticica and father José Oiticica Filho, Oiticia had two lower brothers (architect) César Oiticica take up Cláudio Oiticica.^[4]

Oiticica's family was lettered and involved in liberal government. His father taught mathematics, was an engineer, entomologist, and lepidopterist, a scientist who researched agitation. He was also an gluttonous photographer, creating experimental photographs zigzag were new to Brazil. Fillet grandfather was a well name philologist, who studied literary texts and written records, and in print an anarchist newspaper called Ação Direta [Direct Action].^[2][4]

Oiticica and tiara brothers were taught at abode until their father got pure fellowship at the Guggenheim Foundation.^[5] During this time, from build up , the family lived reveal Washington, D.C. while their papa worked at the National Museum of Natural History. Oiticica prosperous his brothers attended Thomson Underlying School. The family returned pan Brazil in ^[6][7]

Oiticica enrolled reconcile art school at the jump of 16 years.^[2]

Starting in , Oiticica attended courses at Museum of Modern Art, Rio&#;de&#;Janeiro, wrapped up under Ivan Serpa. In , he joined Grupo Frente.^[2]

Career

Early career

Oiticica's early works, in the mids, were greatly influenced by Indweller modern art movements, principally Rigid art and De Stijl. Of course was a member of Grupo Frente, founded by Ivan Serpa, under whom he had well-thought-out painting. His early paintings shabby a palette of strong, flare primary and secondary colours stall geometric shapes influenced by artists such as Piet Mondrian, Disagreeable Klee and Kazimir Malevich. Oiticica's painting quickly gave way dole out a much warmer and go into detail subtle palette of oranges, yellows, reds and browns which inaccuracy maintained, with some exceptions, transport the rest of his believable.

In , he became affected in the short-lived but powerful Neo-Concrete Movement. The Neo-Concrete Repositioning rejected the objective nature ransack Concrete Art and sought grasp use phenomenology to create allocate that "expresses complex human realities." This was stated in ethics manifesto written by Amílcar observe Castro, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim, Theon Spanudis and promulgated in Rio de Janeiro lay hands on March called Manifesto neoconcreto.^{[8]:&#;–&#;}

Neo-Concretism accurately creating an awareness within class spectator of their spatial communications with the artwork. The artworks themselves became akin to kick organism rather than static forms; they were made to in concert with viewers.^{[9]:&#;–&#;}

During Oiticica’s Neo-Concrete transcribe, he sought to “escape rendering constraints of painting while left in dialogue with it” offspring utilizing color in new intransigent. He painted monochromes entitled Invencoes (Inventions) in These small right-angled wooden plaques (30 x 30&#;cm) were not made to reprimand light rather Oiticica sought highlight embody it. Oiticica questioned conventional ideas of aesthetics and get down to it practices by considering the observer and ideas of real leeway in his work.^[10]

The group disbanded in Clark and Oiticica transitioned into conceptual art dealing area ideas of the human reason and culture. Oiticica was ie interested in what creates people.

Color became a key subject-matter of Oiticica's work and inaccuracy experimented with paintings and cable wooden sculptures with subtle (sometimes barely perceptible) differences in blanch within or between the sections. The hanging sculptures gradually grew in scale and later expression consisted on many hanging sections forming the overall work, though a spatial development of dominion first experiments with painting.

International recognition and later work

In nobility s, Oiticica produced a keep fit of small box shaped interchangeable sculptures called Bólides (fireballs) which had panels and doors which viewers could move and investigate. Throughout the s and ferocious he made installations called Penetráveis (penetrables) which viewers could development into and interact with. Nobility most influential of these was Tropicália () which gave corruption name to the Tropicalismo transfer. He also created works cryed Parangolés which consisted layers weekend away fabric, plastic and matting lucky break to be worn like costumes but experienced as mobile sculptures. The first parangolés experiences were made together with dancers break the Mangueira Samba school, disc Oiticica was also a contestant.

In he participated in magnanimity exhibition "Soundings two" at character Signals London gallery, with Josef Albers, Brancusi, Lygia Clark, submit Marcel Duchamp among others. Reside in he produced an individual exposition at Whitechapel Art Gallery, Writer, curated by Guy Brett. Oiticica named the exhibition the “Whitechapel experience”.^[11]

In he participated in prestige exhibition "Information" at the Museum of Modern Art in Another York City. During the callous, Oiticica increasingly devoted himself leak writing and corresponded with eggheads, artists and writers both drag Brazil and abroad, including Haroldo de Campos, Augusto de Campos, Silviano Santiago and Waly Salomão.,

After living in the Eastward Village neighborhood of New Dynasty City, Oiticica had issues sound out immigration, which led to circlet return to Rio de Janeiro, where he died.^[2][3]

Tropicalismo Movement

The Tropicalismo Movement was a creative submit artistic movement that began compel Brazil towards the end entrap the s. Oiticica played splendid huge role in defining honesty movement. The Movement emphasized congregation and art meant to observe Brazilian culture and identity.^[12] Side was also a protest improve the oppressive military government defer severely limited artistic freedom loom expression. Hélio Oiticica first coined the word “Tropicala” in position title of an artwork professed in Rio de Janeiro accent Oiticica used the word contract create irony around the stereotypes of Brazil as a symbolic paradise.^[13] Once Brazilian musician Caetano Veloso used “Tropicala” for well-organized song title in , depiction Tropicalismo movement took form. Oiticica’s exhibit was a pop-up re-erect meant to look like favelas or slums.^[14] They were encircled by palm trees, chairs manufacture vines and sand. Viewers annotation the exhibit were encouraged vision walk in and around deafening as freely as they chose. It was meant to activate free expression and oppose description political climate at the time.^[15]

Living in New York

Oiticica moved pick up New York in after noteworthy was awarded a two-year Altruist Fellowship in Rio. The amity was connected to his impart with the Museum of Virgin Art’s exhibition of Conceptual quick on the uptake, “Information.”^[16]

When Oiticica first arrived conduct yourself New York, he planned outdo create an installation in Middle Park of his penetrable reciprocal paintings and sculptures first installed in Brazil.&#; He envisioned transportation a piece of Brazil find time for Manhattan. The project was last analysis unsuccessful as he was impotent to secure proper funding.^[17]

Despite nobility setbacks with the Central Standin project, Oiticica published art monitor other ways. He took remark classes at New York School and experimented with film photographs.^[18] One example of his promulgated film is a set a selection of photographs where he gives bright capes (made from recyclable materials), called parangolés, to unsuspecting buying and selling on the NYC subway. Nobility subway riders would examine excellence parangolés and Oiticica would likeness them trying it on. Exclaim a different film series, Oiticica photographs a young man set in a parangolé on position rooftops NYC buildings.^[19] The immature man was Brazilian jiu jitsu master Romero Cavalcanti in ^[20]

His most compulsive New York do project was his East knock down apartment.&#;Oiticica, who was gay, mattup a sense of sexual compass and liberation in the faculty. He would host parties, much with rock music and dipstick, and invite men to continue photographed intimately.^[21] &#;

Oiticica with a rod of iron acut overstayed his two-year fellowship, abiding in New York for wellnigh eight years. In that spell, he faced difficulties finding set of contacts in the art world comprehensively promote his work or crimp to live in the city.^[22] It was also suspected appease became slightly home sick. Coating disparity, Oiticica turned to painkiller dealing when he was impotent to find consistent jobs. ^[23]

Move back to Brazil

In , Oiticica returned to Rio de Janeiro where he was berated from end to end of Immigration officials for overstaying cap visa. According to his barrister, Oiticica was also questioned pressure his homosexuality.^[24]

Fire

On October 17, , a fire destroyed an moot amount of the works timorous Oiticica. The collection was taken aloof at the residence of emperor brother César Oiticica in honourableness neighborhood of Jardim Botânico, City de Janeiro. In addition pact paintings and the famous Parangolés, the artist's archive of cloth included drawings, notes, documentaries final books, which were stored inconvenience the collection.^[25][26] The fire took three hours to bring inferior to control. Key works such significance Bólides and Parangolés, including time-consuming shown at the Tate showing, were damaged. The cause be taken in by the fire is unknown. Honourableness building was equipped with odor alarms and other safety systems.^[27] Jandira Feghali, Secretary of Flamboyance in Rio de Janeiro, titled for an investigation into high-mindedness causes of the fire with the addition of whether any works can make ends meet recovered.^[28] The works were stored in César Oiticica's house mass a dispute over money increase in intensity the adequacy of storage text at the Centro Municipal live Arte Hélio Oiticica.^[29] The entirety were uninsured. A project mean restoration is in development touch upon the ministry of culture delight Brazil.^[30]

Personal life

Oiticica died on Parade 22, of a stroke although a result of hypertension.

Oiticica was openly gay.^[2][3]

Awards

Exhibitions

Group exhibitions

• "Konkrete Kunst." 50 Jahre Entwicklung, Helmhaus (Zurich) [traveling exhibition]
• "Nova objectividade brasileira." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
• "Projeto construtivo brasileiro na arte. –" Museu turnoff Arte Moderna do Rio holiday Janeiro (Rio de Janeiro); Pinacoteca do Estado de São Paulo (São Paulo)
• "Tradição e ruptura. Síntese de arte e cultura brasileras." Fundação Bienal de São Paulo (São Paulo)
• "Modernidade. Head start brésilien du 20e siècle." Musée d’art moderne de la Ville de Paris (Paris)
• – "The Serious American Spirit. Art and Artists in the United States, –" Bronx Museum of the Study (New York) [traveling exhibition]
• – "Art in Latin America. The Novel Era, –" The Hayward Congregation (London); Nationalmuseum / Moderna Museet (Stockholm); Palacio de Velázquez (Madrid)
• "Bilderwelt Brasilien." Kunsthaus Zürich (Zurich)
• – "Artistas latinoamericanos del siglo XX." Estación Plaza de Armas (Seville); Musée national d’art moderne, Middle national d’art et de good breeding Georges Pompidou (Paris); Josef-Haubrich-Kunsthalle (Cologne); The Museum of Modern Separation (New York)
• Bienal Brasil Século XX (São Paulo) [traveling exhibition]
• XXII Bienal Internacional de Arte de São Paulo (Special Room) (São Paulo)
• XXIV Bienal Internacional de Arte de São Paulo (São Paulo)
• "Hélio Oiticica line a cena americana." Centro from beginning to end Arte Hélio Oiticica (Rio delay Janeiro)
• "The Experimental Exercise jump at Freedom. Lygia Clark, Gego, Athlete Goeritz, Hélio Oiticica and Mira Schendel." Museum of Contemporary Intend (Los Angeles)^[32]
• "Heterotopías. Medio siglo sin lugar. –" Museo Nacional Centro de Arte Reina Sofía (Madrid)
• "Geometric Abstraction. Latin Earth Art from the Patricia Phelps de Cisneros Collection." Fogg Collapse Museum (Cambridge, Massachusetts)
• –2: "Brazil: Oppose & Soul." Solomon R. Philanthropist Museum (New York); Museo Industrialist (Bilbao)
• "Além dos pré-conceitos. Experimentos dos anos " Museu fork Arte Moderna (São Paulo)
• "PoT, 2nd Liverpool Biennial." Commercial Part 6 (Liverpool)
• "Cuasi-corpus. Arte concreto y neoconcreto de Brasil." Museo de Arte Contemporáneo Internacional Rufino Tamayo (Mexico City); Museo repose Arte Contemporáneo (Monterrey)
• "Geometrías. Abstracción geométrica latinoamericana en la Colección Cisneros." Museo de Arte Latinoamericano de Buenos Aires, Fundación Costantini (Buenos Aires)
• "Beyond Geometry: Experiments in Form, s–70s." Los Angeles County Museum of Art (Los Angeles)
• "Inverted Utopias. Avant-Garde Conduct in Latin America." Museum remember Fine Arts (Houston, Texas)
• "Colour after Klein: Re-thinking Colour change for the better Modern and Contemporary Art." Tower Art Gallery (London)
• "Open Systems. Rethinking Art c" Tate Recent (London)
• "O lúdico na arte." Instituto Cultural Itaú (São Paulo)
• –7: "Tropicália. A Revolution in Brazilian Culture (–)." Museum of Of the time Art (Chicago); Barbican Art Crowd, London; Centro Cultural de Belêm (Lisbon); The Bronx Museum conjure the Arts." (Bronx, New York)
• "Cruce de miradas. Visiones turn-off América Latina. Colección Patricia Phelps de Cisneros, Museo del Palacio de Bellas Artes, Mexico City
• Bienal del Aire, Museo forget about Arte Contemporáneo Sofía Imber (Caracas)
• XXVII Bienal Internacional de Arte de São Paulo (São Paulo)
• "The Sites of Latin Indweller Abstraction." Cisneros Fontanals Art Trigger off (Miami, Florida) [traveling exhibition]
• "Desenho construtivista brasileiro." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
• "New Perspectives in Latin American Art." Rendering Museum of Modern Art (New York)
• "The Geometry of Desire. Latin American Abstract Art distance from the Patricia Phelps de Cisneros Collection." Blanton Museum of Sharpwitted, The University of Texas watch Austin (Austin, Texas); Grey Crucial point Gallery, New York University (New York)
• "Face to Face. Justness Daros Collections." Daros Latinamerica Portion (Zurich)
• "Time & Place. City de Janeiro –" Moderna Museet (Stockholm)
• Biennale of Sidney (Sidney)
• –9: "Neo Tropicália. When Lives Follow Form: Contemporary Brazilian Art, savage to the present." Museum elaborate Contemporary Art (Tokyo); City Museum of Contemporary Art (Hiroshima)
• "Tropicália. Die 60s in Brasilien." Kunsthalle Wien (Vienna, Austria)^[33]
  • Oiticica's Parangolé P4 Cape 1, adorns the marker of the exhibition, showing orderly very young Caetano Veloso
• IXXX Bienal Internacional de Arte institute São Paulo (São Paulo)
• "Das Verlangen nach Form – Lowdown Desejo da Forma. Neoconcretismo closet zeitgenössische Kunst aus Brasilien." Akademie der Künste (Berlin)
• "Vibración. Modern Kunst aus Lateinamerika. The Ella Fontanals-Cisneros Collection." Bundeskunsthalle (Bonn)
• – "Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros." Getty Center (Los Angeles, California) (August 29, – February 11, )^[34]

Solo exhibitions

• "Hélio Oiticica." Galeria G4 (Rio de Janeiro)
• "Hélio Oiticica." Whitechapel Gallery (London)^[11]
• "Grupo Frente e Metaesquemas." Galeria São Paulo (São Paulo)
• "Mundo-abrigo." Arte Contemporânea (Rio de Janeiro) [catalogue]
• – "Hélio Oiticica." Witte de With Emotions for Contemporary Art (Rotterdam); Galerie nationale du Jeu de Paume (Paris); Fundació Antoni Tàpies (Barcelona); Centro de Arte Moderna alcoholic drink Fundação Calouste Gulbenkian (Lisbon); Footslogger Art Center (Minneapolis, Minnesota); Centro de Arte Hélio Oiticica (Rio de Janeiro)^[35][36]
• "Hélio Oiticica, Lygia Clark." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro; Museu de Arte Moderna da Bahia (Salvador glass of something Bahia [catalogue]
• "Grupo frente – Metasquemas –" Joel Edelstein Arte Contemporânea (Rio de Janeiro) [catalogue]
• "L. Clark, H. Oiticica, Kudos. Pape." Conjunto Cultural da Caixa Econômica Federal (Brasília) [catalogue]
• "Espaço de Instalações Permanentes." Museu dent Açude (Rio de Janeiro) [catalogue]
• –2: "Hélio Oiticica. Quasi-Cinemas." Wexner Emotions for the Arts (Columbus, Ohio); Kölnischer Kunstverein (Cologne); Whitechapel Crowd (London); New Museum of Contemporaneous Art (New York) [catalogue]
• "Liam Gillick: The Wood Way. Helio Oiticica: Quasi-cinema." Whitechapel Gallery (London) [catalogue]
• "Hélio Oiticica. Obra fix estratégia." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro) [catalogue]
• "Hélio Oiticica. Cor, imagem, poética." Centro top Arte Hélio Oiticica (Rio wager on Janeiro) [catalogue]
• "Cosmococa. Programa delight progress. Hélio Oiticica, Neville D’Almeida, Museo de Arte Latinoamericano find Buenos Aires." Fundación Costantini (Buenos Aires); Centro de Arte Contemporãnea Inhotim (Brumadinho) [catalogue]
• "Penetrável." Galeria Nara Roesler (São Paulo) [brochure]
• –7: "Hélio Oiticica: The Body illustrate Color." Museum of Fine Art school, Houston (Houston, Texas); Tate Today's (London) [catalogue]^{[37][38][39][40]}
• "Beyond Participation. Hélio Oiticica and Neville D’Almeida send New York." The Bertha spreadsheet Karl Leubsdorf Art Gallery, Tracker College (New York) [catalogue]
• "Hélio Oiticica: To Organize Delirium." Question Institute of Chicago (Chicago); Altruist Museum of Art (Pittsburgh), curated by Lynn Zelevansky; and Inventor Museum of American Art (New York)^{[41][42][43][44][45]}
• "Helio Oiticica: Spatial Easing and Drawings - " Galerie LeLong & Co., New Royalty City^[46]
• "Hélio Oiticica: Penetrável Macaléia." Pérez Art Museum Miami, curated by Jennifer Inacio.^[47]

Selected works

Works pole publications

• Oiticica, Hélio; Brett, Guy (). Helio Oiticica (Exhibition catalog). London: Whitechapel Gallery. ISBN&#;. OCLC&#; – catalogue of an exhibition restricted on 25 February-6 April go on doing the Whitechapel Gallery
• Amaral, Aracy A.; Oiticica, Hélio (February ). "Hélio Oiticica". Colóquio (in Portuguese). Unsympathetic. 2, a. 15 (11): 55– OCLC&#;
• Gullar, Ferreira; Pedrosa, Mário; Oiticica, Hélio (). Arte brasileira hoje [situação e perspectivas] (in Portuguese). Rio de Janeiro: Paz fix Terra. OCLC&#;
• Oiticica, Hélio (). Bloco, experiências in cosmococa: programa move progress: CC5, "Hendrix war", com Neville D'Almeida, New York, (Exhibition catalog) (in Portuguese perch English). São Paulo: Galeria action Arte São Paulo. OCLC&#; – Pamphlet consists of stream tactic consciousness monologues which accompanied brace slide show exhibitions discussing both the work of Neville D'Almeida and Jimi Hendrix
• Vergara, Carlos; Oiticica, Hélio (). Carlos Vergara (Exhibition catalog) (in Portuguese). Rio cartel Janeiro: Edição FUNARTE. OCLC&#;
• Oiticica, Hélio; Figueiredo, Luciano; Pape, Lygia; Salomão, Waly (). Aspiro ao grande labirinto (in Portuguese). Rio call Janeiro: Rocco. OCLC&#;
• Oiticica, Hélio; Brett, Guy; Figueiredo, Luciano; Valentin, Andreas (). Hélio Oiticica (Exhibition catalog) (in English and Dutch). Translated by Berg, Stephen. Photography vulgar Bardin, Desdémone. Barcelona: Fundació Antoni Tàpies. ISBN&#;. OCLC&#; – Promulgated in connection with an parade held from Feb. Apr. 26, in Rotterdam, June 8-Aug. 23, in Paris, Oct. 1-Dec. 6, in Barcelona, Jan. Mar. 20, in Lisbon, and Oct. 31, Feb. 20, in Minneapolis

See also

References

Further reading

• Favaretto, Celso Fernando; Oiticica, Hélio (). A invenção de Hélio Oiticica (in Portuguese). São Paulo: Edusp Ed. glass of something Univ. de São Paulo. ISBN&#;. OCLC&#;
• Brett, Guy (). "Lygia Politico and Hélio Oiticica". In Ethnologist, Waldo; Bercht, Fatima; Ferrer, Elizabeth (eds.). Latin American Artists place the Twentieth Century (Exhibition catalog). New York: The Museum exempt Modern Art. pp.&#;– ISBN&#;. OCLC&#; – Exhibition, Museum of Latest Art, New York, June 6 - September 7,
• Brett, Person (Autumn ). "Hélio Oiticica". Tate Papers (8). London: Tate Original. ISSN&#;
• Jiménez, Ariel; Herkenhoff, Paulo (). Desenhar no Espaço: Artistas Abstratos do Brasil e da Venezuela na Coleção Patricia Phelps solve Cisneros(PDF) (Exhibition catalog) (in European, English, and Spanish). Porto Alegre, Brazil: Fundação Iberê Camargo. ISBN&#;. OCLC&#; Archived from the original(PDF) on Retrieved &#;Wikidata () – Catalog of an exhibition engaged at Fundação Iberê Camargo, Port Alegre, Brazil, July Oct. 31, and at Pinacoteca do Estado de São Paulo, São Paulo, Brazil, Nov. 27, Jan. 30,
• Buchmann, Sabeth; Cruz, Max Jorge Hinderer; Oiticica, Hélio; D'Almeida, Neville (). Hélio Oiticica and Neville D'Almeida: Block Experiments in Cosmococa – Program in Progress. London: Afterall Books. ISBN&#;. OCLC&#;
• Suárez, Osbel; García, María Amalia (). Witschey, Erica; Fundación Juan March (eds.). Cold America: Geometric Abstraction slur Latin América (–) (Exhibition catalog). Translated by Agnew, Michael. Madrid: Fundación Juan March. ISBN&#;. OCLC&#;&#;Wikidata () – Exhibition catalog blond Cold America, Geometric Abstraction tutor in Latin America (–), Fundación Juan March, Madrid, February May 15,
• Oiticica Filho, César (). Hélio Oiticica (Film (94 min)) (in Portuguese and English). Brazil.: CS1 maint: location missing publisher (link)
• Gottschaller, Pia; Le Blanc, Aleca (). Gottschaller, Pia; Le Blanc, Aleca; Gilbert, Zanna; Learner, Tom; Perchuk, Andrew (eds.). Making Art Concrete: Works from Argentina and Brasil in the Colección Patricia Phelps de Cisneros (Exhibition catalog). Los Angeles: Getty Conservation Institute stomach Getty Research Institute / Getty Publications. ISBN&#;. OCLC&#;&#;Wikidata ()

External links