Right: Hélio Oiticica ,PN1 Penetrável, 1960 Oil on wood, 203 x 150 x 150 cm, Courtesy César and Claudio Oiticica-Rio de Janeiro.In 1967, Hélio Oiticica was a driving force behind the concept of Nova Objetividade Brasileira, in direct opposition to the international supremacy of Optical and Pop Art. Left: Hélio Oiticica, P31 Parangolé Capa 24, Escrerbuto, worn by Omar Salomão, 1972, Nylon mesh fabric and plastic vinyl, 97.79 x 84.58 cm, Courtesy of the Ortiz Family, © César and Claudio Oiticica, Whitney Museum of American Art archive. Hélio Oiticica, Metaesquema 4066, 1958, Gouache on cardboard, 53.3 x 58.1 cm, Museum of Modern Art-New York Gift of the Oiticica family, © The Museum of Modern Art/Licensed by SCALA / Art Resource-NY, Whitney Museum of American Art Archive Right: Hélio Oiticica, P15 Parangolé Capa 12, Eu Incorporo a Revolta, worn by Nildo of Mangueira, 1967, Courtesy of César and Claudio Oiticica-Rio de Janeiro, © César and Claudio Oiticica, Photo: Claudio Oiticica, Whitney Museum of American Art Archive Info: Lynn Zelevansky, Elisabeth Sussman, James Rondeau, Donna De Salvo and Anna Katherine Brodbeck, Whitney Museum of American Art, 99 Gansevoort Street, New York, Duration: 14/7-1/10/17, Days & Hours: Mon, Wed-Thu & Sun 10:30-18:00, Fri-Sat 10:30-22:00, Left: Hélio Oiticica, Metaesquema, Malekledrian, 1958, Gouache on cardboard, 24.76 x 15.88 cm, The Ortiz Family Photo: Joseph Hu, Whitney Museum of American Art archive. In addition to viewing original works on display, visitors will be invited to wear and manipulate exhibition copies of the artist’s interactive works. Because of its size, it is rarely presented. Also on presentation is the massive installation “Eden”, this huge work includes spaces designed to engage the senses and promote creative thought, tents for sleeping or listening to music, and beds filled with straw for relaxation or light reading. That aim reached fruition as his career advanced and his art took on an increasingly immersive nature, transforming the viewer from a spectator to an active participant. Above all, he aimed to communicate to his audiences the deep pleasure and satisfaction inherent in creative work. Throughout his brief but energetic career, Oiticica seamlessly melded formal and social concerns in his art, seeking to be internationally relevant and, at the same time, specifically Brazilian. The name Tropicália, was borrowed by the musician Caetano Veloso for his anthem against Brazil’s dictatorship, became a powerful movement in all the arts, a political position both against the right’s conservatism and the left’s desire for a purely Brazilian art. Oiticica’s most famous work, “Tropicália” (1967) brings together a series of clichés associated with tropicalness: sand, gravel, exotic birds, and lush foliage, which was contrasted with a television monitor that emits continuous images and sounds. His later installations continued to revolutionize the role of the viewer, as they responded to the increasingly oppressive political situation in Brazil under the military dictatorship. The “Nuclei”, composed of panels suspended from the ceiling, created areas through which the viewer could walk. By 1959, Oiticica’s painterly-sculptural “Spatial Reliefs” and “Nuclei” broke free of the wall and entered the space of the viewer. These progressively dynamic compositions paved the way for his works that liberated painting from a flat plane. Demonstrating the great breadth of the artist’s work, the exhibition begins with the adventurously elegant works on paper from early in Oiticica’s career (1955-58). “To Organize Delirium” is the first full-scale retrospective in the U.S.A. A relentless innovator always pushing the traditional boundaries of art, Oiticica moved rapidly and radically from early works influenced by European modernism to large-scale installations that were meant to be physically experienced and often to critique political and social issues. Hélio Oiticica is arguably the one of the most influential Latin American artists of the post–World War II period and is recognized for his significant contributions to the development of contemporary art.
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