Lygia Clark: 10 works to get to know a contemporary artist
Lygia Clark (1920-1988) was an important Brazilian artist, teacher and therapist. She is considered a number of outstanding women in contemporary art, developing a work that seeks to investigate spatial relationships and of a interactive and sensory art.
Seu nome de ella is associated with or neoconcretism, movement that proposes greater experimentation and inclusion of the public in the artistic universe.
Also, she is responsible for a production in which she invites or spectator to actively participate in the works, following a career that culminates in the union between art and therapeutic processes. By default, Lygia claimed to be a "não-artist", I have declared:
Art does not consist more of an object for you to wear, to make beautiful, but for a preparation for life.
Check out 10 works of essays by the artist to understand his costume and relevance.
1. Bugs (1960)
Lygia Clark begins in 1960 a series of works entitled Bugs. This is perhaps the best known work of the artist, honored as a prize for the best national sculpture at the VI Bienal de São Paulo.
The works consist of metal plates joined by dobradiças, so that they can be manipulated by the public as the objective of raising You do not goshapes, exploring various possibilities, but also counting on some resistance of the own object.
To understand the Bugs, we can analyze the artist himself:
A living organism, a work is essentially protective. Between you and him a total, existential integration is established. Na relationship that is established between you and o Bug não ha passividade, nem sua nem dele.
2. Casulos (1959)
Before raising you Bugs, Lygia Clark has been experiencing composições nas which she works as a noção de espaço. As no case of Casulo, 1959.
This work is made of metal and fixed to the wall. A composition presents elements that are bending, saindo, therefore, of the two-dimensional field and crossing or space, raising lacunas e internal areas.
It can be said that this work has been unfolded, no next year, na series Bugs.
3. Climbing (1963)
Climbing This is also a series of works that the artist began in 1963. São flexiveis sculptures Feitas in metal and also in other materials, like drunk.
These objects are in the form of spirals that are intertwined and can be supported on various surfaces. Lygia's idea was to create free and organic works, which could be inserted in no way to explore multiple possibilities, if a specific support is required.
4. Walking (1964)
Walking It is a 1964 work that based on a mathematical concept for chamar or public à ação. Nesse trabalho Lygia uses uma Moebius Fita, object made in 1858 by German mathematician August Ferdinand Möbius.
A fita is twisted and joined together, resulting in a strip with just one face. It can be understood or object as a representation of infinity, therefore.
Na work, or that the artist face and summon the people to cut a few fitas of paper a year, or that face like the fique more and more. Assim, chega a moment when it becomes impossible to continue or process.
The work happens for the most part of the public, which ceases to be a spectator and becomes agent gives ação, participating in an experience where you can reflect on questions pertinent to your own life.
5. O Eu e o Tu: Série Roupa-Corpo-Roupa (1967)
For a proposição O Eu e o Tu: Série Roupa-Corpo-Roupa, from 1967, were raised two macacoes, who must be dressed by a home and a woman.
As peças are feitas with materials such as plastic, drunk, foam and other elements. Foi a way that the artist found to provide uma investigative experience between as people. This is because there are cavities with clothing where you can explore as mine or body of another person.
There is also a tube interlinking the individuals who are available to participate in the event.
6. Abyss mask with lid-olhos (1968)
TO Abyss mask with cap-olho face part of a group of workers not qualifying Lygia proposed that the public be placed in incommunicado situations by means of sensory objects raised by her.
A mask in questão and feita with a sack of synthetic material in net format wrapping a com ar plastic sack. The sacks are stretched by body hair, creating a prolongation of their own being.
Visitors use tapa-olhos, thus intensifying their exploration.
7. A casa é o corpo: Labirinto (1968)
A casa é o corpo: Labirinto (1968) is a kind of work installation, formed by a structure of oito meters of compression.
Nela, a person, is chamada to enter the spaces in order to live a sensory experience that simulates conception, involving all the phases of the emergence of life: penetration, ovulation, germination and expulsion.
Refletindo on the work and its conceit, Lygia Clark disse:
At home... it was more than a fight, because she was everything or content of the body too, therefore, an organism as alive as our own!
8. Anthropophagic slime (1973)
To work Anthropophagic slime was idealized in 1973 and complements another work of the same year, chamado Cannibalism.
Nessa proposição, the participants receive a reel of colorful lines every um, when another person is stopped. You carry two members positioned at the mouth, who will unroll them and deposit as lines with saliva on the body that is deited.
You think that's how it ended, everyone got together years old, em um emaranhado.
Here, the artist felt like offering an experience of assimilação do corpo alheio, in that the person who withdraws the lines of the mouth experiences a sensation of puxar from within if parts of his own body.
At the same time, or an individual who has his body offered as support, a plot is formed and needs to be dealt with as unexpected.
Maybe you are also interested in: Conceitual Art.
9. Tunnel (1973)
On proposition Tunnel It was conceived by Lygia in 1973. The work consists of a small tube made of elastic material. About 50 meters of compression and the people have to enter some openings and go through or "tunnel" at the other side.
We can fazer this suit you sozinho ou com mas pessoas. As the sensations experienced by the participants, generally vary from their focus to relief and liberation. Além disso, you can think of a work as an allegory gives birth experience.
10. Related Objects (1976)
Lygia Clark designed "related objects" the elements that she began to use in therapeutic sessions with people starting in 1976.
São objects produced with the purpose of awakening sensations to us individuals - that she becomes chamar of "clients" - for them to experience a body practice that activates various emotions and possibilities um healing work.
There are various types of materials used, such as plastic mattresses with styrofoam bolts, lençóis, among others. Conheça no video below um little more about this work.
To learn more about art, read: Contemporary art
What was Lygia Clark and what was her legacy?
Lygia Pimentel Lins é o nome de batismo by Lygia Clark. She was born in Belo Horizonte (MG) on October 23, 1920.
She started studying art at the age of 27, in 1947, when she went to classrooms as an artist Roberto Burle Marx. Three years after she went to France, where she lived for two years studying with Fernand Léger and other artists.
Year to return to Brazil, Lygia integrates concretist movement ao participate Grupo Frente, idealized hair artist Ivan Serpa.
Later, to develop your inquiries, she assassinates or Neo-Concrete Manifesto, in 1959, that she is looking for an art with more freedom of rationality, more expressive and sensitive. This is the same year that the artist holds his first exhibition.
In the 70s, Lygia returned to live in Paris, in France, where she developed an interactive project by teaching at the St. Charles School of Visual Arts, at the Sorbonne. When she returned to the country, in 1976, she began to dedicate herself more intensely to art as a phase of therapeutic research.
In Lygia's costume and interesting, pois shows us a transition between a conventional artistic work for A purposive therapeutic work, where the relationship between the work and the public is fundamental for art to exist. Dessa form, ela approaches art gives life both not individual scope as collective.
A contemporary artist of Lygia Clark who is usually associated with her Helio Oiticica (1937-80), who also participated in the concrete and neo-concrete movement and in years past dela, looking for a new way to appropriate two spaces and inviting other bodies to participate in their plays.
It was not on April 25, 1988, not Rio de Janeiro, that Lygia Clark died, aged 67, due to a heart attack.
Next, go to the art curator Felipe Scovino, responsible for an exhibition of the artist at the Itaú Cultural Institute in 2012, hosting a brief retrospective of the art of Lygia and its importance.
You can also be interested in: Hélio Oiticica: 11 works to understand his costume.
