Oiticica was an artist I loved but of whom I had no first-hand experience, and I imagine that many other visitors will also be encountering his work in the flesh for the first time. I was conflicted about the answer to that question before I saw the exhibition, which debuted at Pittsburgh’s Carnegie Museum of Art, stopped over at the Art Institute of Chicago, and is now finishing up at the Whitney. So what’s the better alternative: to refuse to present or recreate the work out of respect for Oiticica’s principles, turning his practice into something that is read about but never seen or to acknowledge the loss and show the work anyway, in the hopes that some new propositions may continue to unfold? Oiticica’s Argentine contemporary Julio Cortázar once wrote that museums are cemeteries-and there is no curatorial strategy that can resuscitate art from history. Essays in the exhibition catalog meditate at length on how to cope with the many losses that haunt the project: the loss of the artist, who might have warmed to the endeavor (Oiticica died in 1980 at the age of forty-two) the loss of over 1,000 of his works after a fire in 2009 but also the more global loss that always occurs when something that was once so keenly alive becomes a static piece of history. The curators, of course, are well aware of this fact. A trailblazer in the mid-twentieth-century utopian quest to collapse the division between art and everyday life, he was virulently anti-institution, disdainful of the convention of the retrospective, and tensely controlling over the presentation of his work, which was often interactive and site-dependent. To Organize Delirium is a traveling survey of legendary Brazilian artist Hélio Oiticica-and he would have hated it. Hélio Oiticica: To Organize Delirium , Whitney Museum of American Art, 99 Gansevoort Street, New York City, through October 1, 2017 Image courtesy the Whitney Museum of American Art. Hanging sculptures, left to right: P58 Spatial Relief, Red, 1960 P52 Spatial Relief, 1960 NC6 Medium Nucleus 3, 1961–63 all by Hélio Oiticica. "Seja marginal, seja herói." ("Be marginal, be a hero.Hélio Oiticica: To Organize Delirium, installation view. Oiticica’s writings and records, collected in this in publication, comprise a fascinating document of the transition from modern to contemporary art. This participatory kind of eventful art is related to the democratization of the concept of art, as conceived by Joseph Beuys. Coming from painting, he developed into one of the protagonists of a new concept of art: he actively involved the viewer in the presentations of his multimedia works, while the works-colorful, accessible, tangible, or wearable like a piece of clothing-filled the space. Experiment, proposition, participation and environment are the key words that place Oiticica’s art firmly in the 1960s and 1970s. His oeuvre was of great importance to the breakthrough of Tropicália, the cultural movement that protested the repressions of the military regime. Hélio Oiticica (1937–1980) altered the Brazilian art scene, and his works broke with accepted conventions. 176 pgs / 50 color / 50 bw | | Not available Introduction by Sherri Geldin, Udo Kittelmann, and Lisa Phillips. Essays by Carlos Basualdo, Dan Cameron, Helio Oiticica, Ivana Bentes. OUT OF PRINT LISTING Helio Oiticica: Quasi-Cinemas HATJE CANTZ Edited by Ann Bremner. Hélio Oiticica: The Great Labyrinth HATJE CANTZ Edited by Susanne Gaensheimer, Max Hinderer Cruz. How Hélio Oiticica led Brazilian art's transition from abstract art to performable sculpture Text by Adrian Anagnost, Cristina Ricupero, Evan Moffitt, Fernanda Lopes, Fernando Cocchiarale, Sergio Delgado Moya, Tania Rivera, Vivian A. Hélio Oiticica: Dance in My Experience MUSEU DE ARTE DE SãO PAULO Edited with text by Adriano Pedrosa, Tomás Toledo. | | Awaiting stockĪCTIVE BACKLIST Hélio Oiticica LISSON GALLERY Text by Lynn Zelevansky, Cesar Oiticica Filho.Ī concise introduction to the pioneering formal and social innovations of the Neoconcretist and Tropicália protagonistĬlth, 9.5 x 12 in. Text by Delmari Romero Keith.Īn in-depth look at the Brazilian Neo-Concretist’s most iconic art form ARTIST MONOGRAPHS Helio Oiticica Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and EssaysįORTHCOMING & NEW RELEASES Hélio Oiticica: Parangolé MOUSSE PUBLISHING Foreword by Marc Pottier.
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