Download Hélio Oiticica and Neville D'Almeida: Block-Experiments in by Sabeth Buchmann, Max Jorge Hinderer Cruz PDF

By Sabeth Buchmann, Max Jorge Hinderer Cruz

Hélio Oiticica (1937–1980) occupies a important place within the Latin American avant-garde of the postwar period. linked to the Rio de Janeiro-based neo-concretist stream first and foremost of his profession, Oiticica moved from item creation to the production of chromatically opulent and sensually engulfing large-scale installations or wearable clothing. construction at the notion for a movie through Brazilian underground filmmaker Neville D’Almeida, Oiticica constructed the concept that for Block-Experiments in Cosmococa—Program in development (1973–1974) as an “open program”: a sequence of 9 proposals for environments, each one which include slide projections, soundtracks, rest amenities, drawings (with cocaine used as pigment), and directions for viewers. it's the epitome of what the artist referred to as his “quasi-cinema” work—his such a lot arguable creation, and maybe his such a lot direct attempt to merge paintings and lifestyles. awarded publicly for the 1st time in 1992, those works were incorporated in significant overseas exhibitions in la, Chicago, London, and New York.

Drawing on unpublished fundamental assets, letters, and writings by means of Oiticica himself, this illustrated exam of Oiticica’s paintings considers the titanic catalog of theoretical references the artist’s paintings is determined by, from anticolonial materialism to French phenomenology and postmodern media concept to the paintings of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica’s paintings in terms of the diaspora of Brazilian intellectuals through the army dictatorship, the politics of media circulate, the commercialization of recent York’s queer underground, the categorical use of cocaine as technique of creation, and attainable destiny reappraisals of Oiticica’s paintings.

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Hélio Oiticica and Neville D’Almeida, CC4 Nocagions, 1973, installation including slide projections, sound and objects, detail — slide CC4/34 12. Hélio Oiticica and Neville D’Almeida, CC4 Nocagions, 1973, installation view, ‘Cosmococa — programa in progress’, Centro de Arte Hélio Oiticica, Rio de Janeiro, 2005 Photograph: César Oiticica Filho 13. Hélio Oiticica and Neville D’Almeida, CC5 Hendrix-War, 1973, installation view, ‘Exposição MomentosFrames, Cosmococa’, Galeria Fortes Vilaça, São Paulo, 2003 Photograph: César Oiticica Filho 14.

48 The means employed to this purpose, however, have nothing to do with an aesthetic of overpowering the viewer, which characterises the Minimal art, Op art, Pop art and multimedia art popular at the time. The Cosmococas, in particular, address Block-Experiments in Cosmococa — program in progress | 37 not the fleeting gaze of the thrill-seeker, but a long-term inhabitant who is open to contingent experience. For instance, Minimal art from the United States, which reached the apex of its international popularity around that time, confronts the viewer with his or her reified existence, through its geometric, abstract objects and its industrial aesthetic.

66 In New York, Oiticica had a Guggenheim grant, but it expired in 1972. 23) — literally a tent installed at the Whitechapel Gallery as a refugee space with magazines and audio tapes of Tropicalia music — the Babylonests functioned as protective cocoons in which the experience of vulnerability and of being uprooted Block-Experiments in Cosmococa — program in progress | 43 could be understood. Installed in his loft on the Lower East Side, they represented an ‘experimental practice of liberty’ turned upside down, or, paraphrasing Oiticica’s Tropicalist call ‘to consume consumption’, a programme of alienation from alienation.

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