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This document is the catalogue for the exhibition Opinião 66, organized by Cérés Franco. It includes brief statements by participating artists, among them Lygia Clark who proposes “the precarious” as an existential concept. Hélio Oiticica speaks of “anti-art” and the uselessness of making art. Other artists who make statements about a range of topics and personal concerns include Pedro Escostéguy, Waldemar Cordeiro, Rubens Gerchman, Giovanni Rubino, Proweller, Jacob Zekveld, Francisco Liberato de Matos, Ernesto Cristian, R. Suárez, Atila, French artist Bernard Rancillac, Jorge Páez, Hugh Weiss, Bengt Bockman, Nelson Blanco, Lea Lublin, Alejandro Marcos, Johnny Nilsson, and Corneille.
Catálogo da exposição Opinião 66, organizada por Ceres Franco, no qual constam pequenos depoimentos de artistas. Lygia Clark propõe o "precário" como conceito de existência. Hélio Oiticica anuncia a antiarte e a inutilidade da elaboração da obra de arte. Contem também manifestações de Pedro Escostéguy, Waldemar Cordeiro, Rubens Gerchman, Giovanni Rubino, Proweller, Jacob Zekveld, Francisco Liberato de Matos, Ernesto Cristian, Ruisdfael Suárez, Atila, Bernard Rancillae, Héio Oiticica, Jorge Páez, Hugh Weiss, Bengt Bockman, Nelson Blanco, Lea Lublin, Alejandro Marcos, Johnny Nilsson e Corneille.
Parisian gallerist Cérés Franco was active in Rio de Janeiro in an attempt to forge connections between European production (mostly French work related to the leading tendencies of the time) and Brazilian production. Some of the shows she organized were supported by the Alliance Française, and a number of them were even held there. Cérés Franco was not only a gallerist, but also an art historian and curator. Her Parisian gallery L’Œil de Bœuf was open for over twenty-five years. Her unique art collection is on public display in Lagrasse in the department of Aude, in the South of France. The exhibition Opinião 66 was held at the Museu de Arte Moderna de Rio de Janeiro from August 25 to September 11, 1966. It featured the work of fifty-nine artists, some of them Europeans but mostly Brazilian residents of Rio de Janeiro. The exhibition illustrated the difference between the Brazilian artists interested in objectual art and foreign artists whose work was more pictorial in nature. Oiticica’s project/installation Sala de bilhar [Billiard Hall] was included in the exhibition. That work consisted of a three-dimensional reconstruction of a famous painting by Vincent van Gogh; in Oiticica’s work, viewers could participate in the environment. Articles related to the exhibition include: Mário Pedrosa, “Opinião... opinião... opinião...,” Jornal do Comércio (Recife, 1966) (republished in Correio da Manhã, Rio de Janeiro, September 11, 1966); Frederico Morais, “A opinião brasileira de 66,” Diário de Notícias, Rio de Janeiro, September 10, 1966 [see doc. no. 1110550]; and Harry Laus, “Nova visão de Opinião,” Jornal do Brasil, Rio de Janeiro, September 2, 1966.
A mostra Opinião 66 aconteceu no Museu de Arte Moderna do Rio de Janeiro entre 25 de agosto e 11 de setembro de 1966, reunindo o trabalho de 59 artistas, grande parte, europeus, e a maioria dos brasileiros residente no Rio de Janeiro. Na exposição ficou visível a diferença dos brasileiros, que buscavam a resolução das obras por meio de uma arte objetual, em relação aos estrangeiros, nos quais ainda dominava a prática da pintura. Hélio Oiticica expõe o projeto "Sala de Bilhar", no qual o artista reconstrói tridimensionalmente um quadro de Van Gogh e oferece o ambiente à participação do espectador.
Ver também: PEDROSA, Mário. Opinião... opinião... opinião... Jornal do Comércio, 1966. (Ou Correio da Manhã, RJ, 11 set 1966.?)MORAIS, Frederico. A opinião brasileira de 66. Diário de Notícias, Rio de Janeiro, 10 set. 1966.LAUS, Harry. Nova visão de Opinião. Jornal do Brasil, Rio de Janeiro, 2 set. 1966.
c- A vanguarda nos anos 60: Mostras e Artistas