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

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By Sabeth Buchmann, Max Jorge Hinderer Cruz

Hélio Oiticica (1937–1980) occupies a principal place within the Latin American avant-garde of the postwar period. linked to the Rio de Janeiro-based neo-concretist circulation in the beginning of his occupation, Oiticica moved from item construction to the production of chromatically opulent and sensually engulfing large-scale installations or wearable clothing. construction at the thought for a movie by way of Brazilian underground filmmaker Neville D’Almeida, Oiticica built the concept that for Block-Experiments in Cosmococa—Program in growth (1973–1974) as an “open program”: a chain of 9 proposals for environments, every one along with slide projections, soundtracks, relaxation 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 artwork and existence. provided publicly for the 1st time in 1992, those works were incorporated in significant foreign exhibitions in l. a., Chicago, London, and New York.

Drawing on unpublished fundamental resources, letters, and writings through Oiticica himself, this illustrated exam of Oiticica’s paintings considers the giant catalog of theoretical references the artist’s paintings depends upon, 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 on the subject of the diaspora of Brazilian intellectuals in the course of the army dictatorship, the politics of media move, the commercialization of latest York’s queer underground, the specific 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: Block-Experiments in Cosmococa: Program in Progres (One Work Series)

Hélio Oiticica (1937–1980) occupies a crucial place within the Latin American avant-garde of the postwar period. linked to the Rio de Janeiro-based neo-concretist flow in the beginning of his occupation, Oiticica moved from item creation to the production of chromatically opulent and sensually engulfing large-scale installations or wearable clothing.

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Extra resources for Hélio Oiticica and Neville D'Almeida: Block-Experiments in Cosmococa: Program in Progres (One Work Series)

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Carlos Basualdo finds here the earliest occurrences of the term ‘quasi-cinema’. ; it ended at one in the morning: I went away transformed! ) by a level of SPECTACLE (PROJECTION-PERFORMANCE) towards which I am attracted through NEVILLE’s cinema experience…82 Yet, we may add, there is a crucial distinction between Oiticica and D’Almeida’s Cosmococas and Smith’s practice. 83 The footage and slides he nonetheless continued to produce and accumulate were presented in ‘living performances’ or ‘live-film’ sessions.

In the middle of this square, lit matches suggest fiery speech and recall the legendary Vodoun ceremony Hendrix staged in 1969 in Monterey: setting his guitar on fire and shocking the festival audience with the wall of noise this produced as he performed unequivocal sexual gestures with tongue and hips. 13). The idea was to suspend the bodies of the participants ‘ABOVE THE GROUND: HAMMOCKS-HANGING-COCOONWISE’. A sketch is ‘to be included in the instructions’ that indicates the distribution of the hammocks and projections.

In contrast, for ‘private performances’, Oiticica wrote in his instructions that four sets of slides, meant for four or more private rooms, should be shown in multiple projections on interior or exterior walls of a house or apartment. The action begins immediately after the residents wake up. Everyone is called upon to ensure that the slide projections operate while ‘any Hendrix’ record is played — they take the creative organisation of the situation into their own hands. The principle of ‘private performances’ applies in this instance not so much to individual relations between work and viewer as to intersubjective and physical encounters: we may take the emphasis placed on ‘otherness’ to be also an erotically charged evocation of incalculable ‘other’ experiences.

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