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  • ICAA Record ID
    1110686
    TITLE
    De la supression de l'objet (notes) = Da supressão do objeto (anotações)
    NOTES

    Publicado originalmente como:

    CLARK, Lygia. Da supressão do objeto (anotações). Navilouca, Rio de Janeiro, 1975.

    IN
    Lygia Clark. -- Rio de Janeiro : Paço Imperial, 1998
    DESCRIPTION
    p. 264-269
    LANGUAGES
    French; Portuguese
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    CLARK, Lygia. De la supression de l'objet (notes) = Da supressão do objeto (anotações). In: BORJA-VILLEL, Manuel J.; BRETT, Guy; HERKENHOFF, Paulo. Lygia Clark. Rio de Janeiro: Paço Imperial, 1998. p.264-269.
    TOPIC DESCRIPTORS
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Synopsis

In this text, Brazilian artist Lygia Clark affirms the presence of man as the backbone of art. She goes so far as to formulate the loss of the object’s relevance as meaning and as means of communication. She posits a relationship between art and pathology, putting forth for the first time interdisciplinary ties to psychoanalysis. Influenced by the post-structuralist writings she came into contact with while living in Paris, Clark signals the end of the author in art; the artist now acts as a bridge. Clark asserts that the recent work she calls “nostalgia do corpo” [nostalgia of the body] entails a process of somatic rediscovery born of her proposals from the seventies. The tone of this text is indisputably poetic. 

Leia esta sinopse em português
Synopsis

Lygia Clark afirma a presença do homem como tema da arte, considerando a perda de sentido do objeto como meio de comunicação. Encontra relação entre arte e patologia e propõe aproximações interdisciplinares com a psicanálise. A artista aponta, também, a superação da autoria no campo da arte, indicando que o artista se torna uma ponte. Revê seu trajeto recente, intitulado "nostalgia do corpo", como parte do processo de redescoberta corporal, que resulta nos trabalhos dos anos 70. Trata-se de um texto de teor marcadamente poético.

Revert to English synopsis
Annotations

In this text, Lygia Clark formulates a re-humanization of art on the basis of proposals activated by the body. The artist’s “pontifical” idea relegates the authorship of her work, a formulation that, at the end of her career, would lead to more radical experiments where the object was envisioned only as a “relational” element secondary to sensations. Crucial to the markedly experimental work she produced starting in the sixties was the “rediscovery of the individual by means of participatory experiences which, in the seventies, would take on a ‘therapeutic’ function.”

 

Brazilian artist Lygia Clark (1920–88) was active from the late forties through the eighties. In the fifties, after briefly producing figurative work on canvas, she joined a group of Rio de Janeiro-based artists initially known as Grupo Frente. Under the leadership of Ivan Serpa, that group looked to São Paulo as it became part of the Brazilian Concrete movement. Art critic Ferreira Gullar’s text “I Exposição Nacional de Arte Concreta: 2 ? O grupo do Rio” [doc. no. 1090217] describes and comments on work by Clark and others in the exhibition held in 1956. In the late fifties, Clark became part of the Neo-Concrete movement, which radically questioned the Concrete movement. That later movement began in 1959 with the launching of the “Manifesto Neoconcreto” written by Ferreira Gullar with artists Franz Weissmann, Amílcar de Castro, Lygia Pape, Reynaldo Jardim (who worked in theater), and Theon Spanudis (a poet), all of whom participated in the aforementioned I Exposição de Arte Neoconcreta (1959) in Rio.

 

Ferreira Gullar also considers the course of Clark’s work in the text, written in 1960, entitled “Do quadro ao não objeto” [doc. no. 1091272]. For a critical analysis of Clark’s international career through the eighties, see “Lygia Clark: In Search of the Body” [doc. no. 1232526], written in 1994 by English curator and critic Guy Brett, who took an active interest in her production from the beginning.  

Leia este comentário crítico em português
Annotations

Tendo iniciado a sua trajetória como artista nos anos 1950, vinculada a grupos abstracionistas da mesma década (Grupo Frente, Rio de Janeiro), Lygia Clark é uma das protagonistas do movimento neoconcreto, formado no Rio de Janeiro, em 1959, e ativo até 1961. A partir dos anos 60, a sua obra adquire uma vertente experimental acentuada, voltada a experiências participativas de redescoberta do sujeito que, na década seguinte, assumirá caráter terapêutico.

 

Ver também: Lygia Clark , Vera Pedrosa. O homem é o centro. Correio da Manhã, 30 de maio de 1968 (reeditado em Manuel J. Borja-Villel, Guy Brett, Paulo Herkenhoff et alli. Lygia Clark (catálogo de exposição0 Rio de Janeiro: Paço Imperial, 1998).
Lygia Clark. O corpo é a casa: sexualidade, invasão do "território" individual. In: Manuel J. Borja-Villel, Guy Brett, Paulo Herkenhoff et alli. Lygia Clark (catálogo de exposição0 Rio de Janeiro: Paço Imperial, 1998.

 

k- Arte e vida. Corpo

Revert to English annotations
Researcher
Equipe Brasil: Guilherme Bueno
Team
FAPESP, Sao Paulo, Brazil
Credit
Associação Cultural O Mundo de Lygia Clark.