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      • Returning to Brazil, the young artist studied with the most influential figures in Rio’s contemporary art scene, entering at the age of 18 into the hot-house environment of Grupo Frente, an abstract painting movement presided over by Ivan Serpa, who believed in art-making as a model for accessing an experience of free-thinking democratic liberation.
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  2. He used it for the title an artwork he first exhibited in Rio de Janeiro in 1967. The word was intended to play on stereotypes of Brazil as a tropical paradise. After Caetano Veloso borrowed the title for his song, it began to be used to define the counter-culture movement.

    • Why did Oiticica go to Rio de Janeiro?1
    • Why did Oiticica go to Rio de Janeiro?2
    • Why did Oiticica go to Rio de Janeiro?3
    • Why did Oiticica go to Rio de Janeiro?4
    • Why did Oiticica go to Rio de Janeiro?5
  3. Oiticica was born in Rio de Janeiro, Brazil to mother Ângela Santos Oiticica and father José Oiticica Filho, Oiticia had two younger brothers (architect) César Oiticica and Cláudio Oiticica. [ 4 ]

  4. Jul 24, 2017 · Oiticica died in 1980, of a stroke, at the age of forty-two, after early success in Rio de Janeiro, a brush with fame in London, obscurity during seven years in New York, and a return to...

    • Peter Schjeldahl
  5. As a teenager, he learned painting under artist and educator Ivan Serpa at the Museum of Modern Art, Rio de Janeiro. A year later, in 1955, he joined Grupo Frente (1952–1964), a collective that was co-founded by Serpa and embraced Concrete art.

    • Brazilian
    • Why did Oiticica go to Rio de Janeiro?1
    • Why did Oiticica go to Rio de Janeiro?2
    • Why did Oiticica go to Rio de Janeiro?3
    • Why did Oiticica go to Rio de Janeiro?4
    • Why did Oiticica go to Rio de Janeiro?5
  6. Sep 29, 2017 · Born in Rio de Janeiro in 1937, Oiticica lived in both Brazil and the United States as a child; his father, José—a mathematician, entomologist, and photographer—worked at the Smithsonian ...

  7. Jul 8, 2022 · Oiticica’s experience of the marginality of Rio de Janeiro’s most impoverished inhabitants awakened him to the social and ethical implications of art. From participatory art to political resistance

  8. Mar 17, 2007 · Reflecting inspirations from Mondrian to the samba music of Rio de Janeiro’s favelas (slums), it also bridges first- and third-world cultures in a way that has seldom been equaled.