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Hélio Oiticica was an important figure of the Neo-Concrete (1959–1961) art movement in Brazil. Neo-Concretists called for artworks to be like living organisms, engaging in spatial relationships with the viewers and thereby rejecting a rationalist approach that emphasised pure forms of representation.
- Brazilian
Oct 1, 2016 · His 1968 motto, seja marginal, seja herói (“Be an outlaw, be a hero”) served as a symbolic rallying cry for the underground countercultural movement during the years of military repression.
Look Closer. The story of Hélio Oiticica and the Tropicália movement. Discover the radical artist Hélio Oiticica who put people at the centre of his art. Tropicália was a creative movement that originated in the late 1960s in Brazil. Encompassing music, art and writing it celebrated Brazil’s culture and people.
Oct 1, 2016 · In addition to original works on display, exhibition copies invite visitors to wear and manipulate the artist’s interactive works. The massive installation Eden, installed in the Hall of Sculpture at the heart of the museum, is Oiticica’s most ambitious. This huge work includes spaces designed to engage the senses and promote creative ...
Oiticica's painting quickly gave way to a much warmer and more subtle palette of oranges, yellows, reds and browns which he maintained, with some exceptions, for the rest of his life. In 1959, he became involved in the short-lived but influential Neo-Concrete Movement.
Jul 14, 2017 · We’ll be invited to enter it, play it, and even wear it. That’s what the dancers in the film projected near the entrance are doing. They’re dressed in Oiticica’s Parangolés —capes he made as a kind of wearable sculpture, completed by human action.
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Sep 8, 2024 · Inspired by the vibrant cultural life of Rio de Janeiro’s favelas and the Afro-Brazilian tradition of samba, the Parangolés were wearable structures made of fabric, plastic, and other materials that transformed into dynamic sculptures when worn and danced in by the participant.
