The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The English critic Guy Brett interviews Hélio Oiticica, who describes some of the concepts involved in the works exhibited at his London retrospective. The artist explains his concepts of creative participation, “crelazer” [a hybrid word combining creation and inactivity], and “penetrável [penetrable], and discusses his installation Edén (one of his emblematic works at the Whitechapel exhibition). He also briefly mentions this installation’s specific connection to the city of Rio de Janeiro. Oiticica talks about the “appropriation” of emotional spaces that he has been incorporating into several of his experimental works.
Entrevista concedida por Helio Oiticica ao crítico inglês Guy Brett. Aqui, o artista explica seus conceitos de participação criativa, "crelazer", " penetrável" e fala sobre "Éden" (uma de suas obras emblemáticas), comentando, em breve passagem, a relação particular deste trabalho com o Rio de Janeiro e a apropriação de espaços afetivos que foram incorporados a suas proposições.
Hélio Oiticica was interviewed after his retrospective exhibition at the Whitechapel Gallery in London in 1969. This is one of the first significant articles to document the international impact of this Brazilian artist’s work. The interview is enlivened throughout by the shrewd observations made by Guy Brett, the English critic who has closely followed Oiticica, Lygia Clark, Mira Schendel, and Sérgio Camargo since the early days of their careers.
Hélio Oiticica (1937–80) was a Brazilian Neo-Concrete artist. He started studying painting with Ivan Serpa in 1954 at the Museu de Arte Moderna do Rio de Janeiro. He later joined the Grupo Frente and the Neo-Concrete movement. In addition to his geometric paintings, which he worked on while he was studying with Serpa and was a member of the Grupo Frente, Oiticica produced performance and participatory art. His Parangolés (1964)—capes made with fabrics and recycled materials—were worn by the Mangueira Samba School during their performances. Oiticica also created immersive spaces, such as Nucleus (1959–60), which was an installation constructed from suspended painted wooden slats inspired by the Constructivism of Piet Mondrian. In 1967 Oiticica created the immersive environment Tropicália at the Museum of Modern Art in Rio de Janeiro. Tropicália was an installation consisting of rooms with plants and materials such as water, sand and stones, a parrot, a television set, and various other elements that were representative of Brazilian popular culture. The environment was designed to promote sensory stimulation. Oiticica applied the same principles to Eden, the installation he created in 1969 at the Whitechapel Gallery in London. The name Tropicália was used by Brazilian musicians to describe a new style that combined international music and pop with traditional Brazilian music. The term “Tropicália” was absorbed into popular Brazilian culture and came to signify a uniquely Brazilian essence. In 1970 Oiticica took part in the group exhibition Information at the Museum of Modern Art in New York.
Based in London, the critic Guy Brett (b. 1942) is also a curator and a lecturer on the international circuit. He cofounded a magazine (Newsbulletin of Signals) and a gallery in London together with Paul Keeler, also called Signals. He worked with Mira Schendel to present her solo exhibition at Signals in 1966. Brett has regularly published his essays—which are almost always based on radical or experimental ideas—in international art magazines, and is the author of a number of monographs. His major contributions include his involvement with Kinetic art from its earliest days in Europe and Venezuela. For a broader view of Brett’s thoughts on Brazilian art, see “Uma cronologia de encontros” [doc. no. 1111303]. The British critic has published a number of monographs about Brazilian artists, as follows: on the subject of Mira Schendel’s radical work, “Ativamente o vazio” [doc. no. 1111214] and “Schendel” [doc. no. 1111213]; on the subject of Lygia Clark’s innovations, “In Search of the Body” [doc. no. 1232526]; on his reading of the 1950s and 1960s in Brazil, “Un salto radical” [doc. no. 808389]; and, finally, about the 1970s in Brazil, article written by Márcio Doctors, “Guy Brett: arte brasileira sem folklore” [doc. no. 1110958].
Esta entrevista ocorreu por ocasião da mostra de Helio Oiticica na Whitechapel Gallery, em Londres, em 1969. Representa um dos primeiros documentos relevantes da recepção internacional da obra do artista brasileiro. Helio Oiticica surge na cena artística carioca nos anos 1950, no contexto do Grupo Frente e da recepção brasileira da arte concreta. Participa do movimento neoconcretista e, nos anos 1960, assume uma posição de liderança nas proposições experimentais na arte brasileira, sendo um dos epítomes da Nova Objetividade Brasileira. Além de sua atuação seminal como artista - cujo reconhecimento internacional é crescente - Helio Oiticica ainda oferece significativas contribuições para a reflexão crítica no Brasil, tanto pelo conteúdo de seus textos quanto pela modalidade singular de sua escrita. Nos anos 1970 residirá nos Estados Unidos (após participação na mostra "Information") e retorna ao Brasil no final da década, vindo a falecer no Rio de Janeiro, em 1980. Seu legado é marcado pelo compromisso ético radical com o experimentalismo. Guy Brett, renomado crítico de arte britânico foi um dos primeiros interlocutores internacionais de Helio Oiticica, Lygia Clark, Sergio Camargo e outros artistas brasileiros, tendo escrito diversos ensaios e textos sobre os mesmos.
k- Arte e vida. Corpo
k- Emergência precoce da arte conceitual na América Latina