Published by Museu de Arte de São Paulo. Edited with text by Adriano Pedrosa, Tomás Toledo. Text by Adrian Anagnost, Cristina Ricupero, Evan Moffitt, Fernanda Lopes, Fernando Cocchiarale, Sergio Delgado Moya, Tania Rivera, Vivian A. Crockett, Hélio Oiticica.
One of the most radical and joyful artists of the 20th century, Hélio Oiticica (1937-80) helped lead the charge in Brazilian art’s unique transition from abstract concrete art to performative objects and collective performance.
As MoMA’s 2019 exhibition Sur Moderno demonstrated, one of Oiticica’s most revolutionary projects was the Parangolé, wearable sculptures made from fabric, plastic or paper. The Parangolé is meant to be worn, inhabited and danced by a participant, lending a physical spontaneity to the piece that entirely blurs the boundaries between the art object and those who experience it.
Dance in My Experience traces the genealogy of this theme within the artist’s oeuvre, identifying rhythmic, choreographic and dance elements throughout his trajectory, from his first Metaesquemas through the Spatial Reliefs, Nuclei and Bólides, culminating in the Parangolés. It includes texts by Oiticica and contributions by numerous scholars.
PUBLISHER Museu de Arte de São Paulo
BOOK FORMAT Hardcover, 8 x 10.75 in. / 328 pgs / 295 color.
PUBLISHING STATUS Pub Date 9/22/2020 Forthcoming
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2020 p. 115
PRODUCT DETAILS ISBN 9788531000850TRADE List Price: $60.00 CDN $84.00 GBP £53.00
AVAILABILITY Awaiting stock
STATUS: Forthcoming | 9/22/2020
This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com
Published by Hatje Cantz. Edited by Susanne Gaensheimer, Max Hinderer Cruz. Text by Hélio Oiticica.
Hélio Oiticica (1937–1980) altered the Brazilian art scene, and his works broke with accepted conventions. His oeuvre was of great importance to the breakthrough of Tropicália, the cultural movement that protested the repressions of the military regime. Experiment, proposition, participation and environment are the key words that place Oiticica’s art firmly in the 1960s and 1970s. Coming from painting, he developed into one of the protagonists of a new concept of art: he actively involved the viewer in the presentations of his multimedia works, while the works--colorful, accessible, tangible, or wearable like a piece of clothing--filled the space. This participatory kind of eventful art is related to the democratization of the concept of art, as conceived by Joseph Beuys. Oiticica’s writings and records, collected in this in publication, comprise a fascinating document of the transition from modern to contemporary art. "Seja marginal, seja herói." ("Be marginal, be a hero.") --Hélio Oiticica
Published by Hatje Cantz. Edited by Ann Bremner. Essays by Carlos Basualdo, Dan Cameron, Helio Oiticica, Ivana Bentes. Introduction by Sherri Geldin, Udo Kittelmann, and Lisa Phillips.
One of the most important exponents of contemporary art in South America, Helio Oiticica creates multimedia room installations which intertwine social themes, experimental elements, and appropriations from popular culture, film, and music. This book focuses on works which have rarely been seen elsewhere, works in which Oiticica questions the traditional relationship between the audience and the world of the movies, such as his "quasi-cinemas," which combine slide projections and music. The lavish nine-part sequence "Black Experiments in Cosmacocoa" is published here for the first time, alongside Oiticica's own notes and critical texts.