Hélio Oiticica: 11 works to understand his costume

Hélio Oiticica (1937-1980) is two contemporary Brazilian artists of greatest standing in the country, leaving an important legacy and influences in other fields of art, for other plastic arts.

Through his work, he is able to understand the evolution of his ideas, which over a long period of time, aiming more and more at inclusion of the public, in a union between art and life.

Assim, Hélio contributed to a transformation in the universe of arts and to a positive affirmation of the Brazilian and its people. identity, as an artistic costume that marks the following gerações, becoming a reference for various artists.

1. Meta schemas (1957-1958)

Hélio Oiticica begins his artistic career with a young man, 18 years old, in the 1950s with a Front Group, a collective constructivist that included important artists such as Ivan Serpa, Lygia Clark and Lygia Pape.

This period is a series of compositions in which the artist creates geometric shapes with gouache on cardboard, inspired by modern artists, such as Wassily Kandinsky (1866-1944). The project was later titled - in the 1970s - from

Meta-schemas.

We are working on producing two-dimensional shapes that suggest the possibility of making paper. Assim, we notice uma intention to improve painting space, that like passar do tempo, of fate or no work of Oiticica.

2. Bilaterais e Relavos espaciais (1959)

You have to explore many possibilities of composition, shape and background. Meta schemasOiticica starts to build colorful objects that are suspended for invisible space, tracing these shapes, previously two-dimensional, for a three-dimensional environment. São various works, which make up series of Bilaterais e of Relays Espaciais.

To the artist's idea trace to form and to cor for or space, making it possible to perceive that a cor "vibrates" not the same environment in which the spectator inhabits when he observes the sculptures that flutter.

3. Large Core (1960)

To work Large Core face part of a series in which Oiticica advances in its Research on a cor, the forms and the supports gives art.

Here the artist creates spaces with yellow plates by where or public can walk, interagindo with the composition and individually create their own "cabines".

Dessa form, I understand that interaction and movement of people around the work is essential to give meaning to the work.

4. Penetrable PN1 (1960)

Not the same year that he investigates or space like you Nuclei, Hélio also breeds a series You penetrate, not which he inserts in a cor ainda more intensely not enclosed and produced, of course, colorful cabins.

Nelas, a cor takes or environment, descending até or chão and inviting or spectator inside. Assim, Hélio creates places and offers experiences to visitors without a sense of experience your own cor. Here, practice ceases to be merely contemplative and becomes relational.

5. Bolides (beginning of the 60s)

Starting from its facilities, Oiticica began to produce a series of works in which it built caixes containing various materials.

There are small containers made of wood, glass or sacks that have compartments and carry various elements, such as sand, pigments, fabrics, soil, water and carvão.

Or artist experiences yourselves, creating a work that acuça different senses, like tato, vision and smell. Spectators can intervene in the works, manipulating them and experiencing new sensations, being guided by an intuitive impulse.

Vidro 5 bolide "Homenagem à Mondrian" (1965), Hélio creates a feita structure of glass, colorful water and fabrics. Using the primary cores (amarelo, vermelho e azul), Hélio pays homage to Mondrian, a modern artist who works intensely on these cores and forms a reference for Oiticica.

Also, we work on the cores are presented in a totally different way, where it is possible to use them through the materiality of two fabrics.

6. Serie Parangolés (pissed from the 60s)

The best known works of Hélio Oiticica são os Parangolés, which will begin to be produced in two years 60.

You work is the result of your involvement with dance and music, which becomes more intense than o artist starts to frequent and collaborate with Escola de Samba Estação Primeira de Mangueira, not Rio de Janeiro, em 1964.

Hélio pursues his investigative work on how cores are related as space. Meanwhile, now or artist includes or corpo as support, as an intention to "de-intellectualize" his art.

Assim, you parangolish, layers of fabric with vibrant hearts, are dressed by residents and dancers of Mangueira who interact with these objects and search for them. "liberate cor". These layers are also extensions of the body itself, as they are not separated from them.

In 2012, a documentary on Hélio Oiticica was found, which tells of his costume. No video of disclosure of the film and it is possible to see a small stretch where people appear jumping like you parangolish e o own Oiticica.

7. Bandeira-poem Seja Marginal, Seja Herói (1968)

A work is a tribute to Manoel Moreira, a black and peripheral homem, resident of the Favela do Esqueleto, not Rio de Janeiro.

Oiticica circulates many favelas and hills of Rio de Janeiro and builds a friendly relationship with many local residents. One of those events was Manoel Moreira.

Known hair called "Cara de Cavalo", Manoel was accused of assassinating a policeman and went to be persecuted by one of the first criminal organizations formed by police, being executed in 1964 with more than 50 shooting.

Four years later, Hélio made a bandeira-poem that he traced to the image of Cara de Cavalo morto and the phrase "Seja Marginal, seja Herói".

O work that ganhou stand out as a protest and of your impulse to be called "marginalália" ou "marginal culture", that permeated Brazilian arts did not end two years 60 and began two 70.

8. Tropicália (1967)

To work Tropicália It is a junção of residences of artists in communities and all the bagagem that has on their council of brazil with the investigations that you have previously done, with the Penetráveis ​​series.

Here he recires an environment in which various sensory and conceptual elements about his Brazilian ideology are mixed, creating an interlinked space. Nele, the various cabines feitas de madeira are connected, like the favelas and vielas themselves.

Além disso, é possível to experience uma labyrintic experience I have contact with natural elements, such as stones, water, tropical plants, texts and music. Final year of the brought to a linked television, which suggests a union between technology and simplicity.

Second words of the artist:

The environment raised was obviously tropical, as in my farmhouse and, more importantly, there was a feeling that it would be de novo stepping on the ground. This sensation will be felt in previous years to walk hairs, pela favela, and the same path to enter, go out, bend pelas 'broken' of tropicália, lembra very like paths hair morro.

Tropicália was a very important work for the culture of the country, stimulating other languages ​​and giving name even to a movement in the 70s, which was eternalized, especially, to music.

9. Ninhos (1970)

Em 1970 Hélio Oiticica unwrap or work Ninhos, exposto na show Information, feita no Museum of Modern Art - MoMA, in New York.

The work is a composted installation of several cabins that are connected, transmitting the idea of ​​multiplicity and growth, as cells are fostered in development.

It is during this period that Oiticica won a bag to make an artistic residency in New York for the Guggenheim Foundation. It remains for every year and gives continuity to its other projects, such as Parangolés and You penetrate.

10. Penetrável Magic Square nº 5, De Luxe (1977)

While still in the US, Oiticica creates works as breakdowns of previous processes. In the case of Penetrável Magic Square nº 5, De Luxe.

The installation was created based on models developed in the sixties, whose projects can only be executed in public locations.

Oiticica's idea was to offer the public a place of imaginative experience, where each person can create their own space, based on proposals of shapes and colors that the artist presents.

A word square, that gives me a work, face allusion to the square and praça concept, in English.

A singer and composer Adriana Calcanhoto produziu or clip of music Hairs Ares using as a cenário an exemplar of this installation present not Museu do Açude, not Rio de Janeiro.

No video is possible to perceive as a work of art it dialogues with a song, transforming an imaginary house, as it suggests to music.

11. Vadian myths (1978)

To return to Brazil, after living in New York in a kind of self-exile by account of the military, Oiticica carries out some pelas ruas performances, invited by artist Ivald Granato, in a chamado job Vadian myths.

As an artist, she walks along the streets of São Paulo, more precisely on Rua Augusta, wearing glasses made of mergulho, sunga and peruca.

Looking for Hélio was an interaction with people who pass through the streets, innovation and unexpected.

Hélio Oiticica carries out some artistic proposals for years that have been followed, such as collective events with Rio de Janeiro communities and experiments on projects that have already been carried out.

His last work was a poetic-urban event entitled Esquenta pr'o Carnival, together with the residents of Morro da Mangueira, in 1980. Foi nesse a faleceu artist, victim of an AVC, leaving a powerful legacy years 42 years.

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