Publicado originalmente como:
Pedrosa, Vera; Clark, Lygia. Lygia Clark: o homem é o centro. Correio da Manhã, Rio de Janeiro, 30 maio 1968. Segundo Caderno. p.1.
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In this interview with Lygia Clark by art critic Vera Pedrosa, the artist discusses the radical change in direction at the heart of her research. Her work no longer revolves around formal questions, but rather around experiences that operate directly on the senses of an active and participating viewer. In Clark’s opinion, the viewer is the one who gives the object “meaning.” The changes taking place in art indisputably alter the artist’s status and function as he is no longer seen as “a genius.” Clark explains that “expression used to be seen as transcendent,” but today it is “immanent,” which suggests that the precarious is the basis for expression’s tie to the interest of current artists.
Entrevista da artista Lygia Clark concedida à crítica Vera Pedrosa. A artista comenta as mudanças de direção em suas pesquisas, que não se baseiam mais na investigação formal, mas na elaboração de experiências que lidem diretamente com a sensorialidade do espectador. É o espectador quem dá sentido ao objeto, segundo ela. Estas mudanças ocorridas no campo da arte se relacionam diretamente com o novo estatuto do artista, que não mais equivale ao gênio. Nas palavras de Lygia Clark, "antes, a expressão era transcendente" e "hoje[...] é imanente", o que está relacionado ao interesse do artista pelo precário.
In this interview, Lygia Clark focuses primarily on the centrality of man and his enveloping and motor structure, that is, the body. Indeed, those concerns would form the basis of the somatic-therapeutic project she would go on to pursue until the end of her days.
Vera Pedrosa [Martins Almeida] (b. 1936) is the daughter of eminent art critic Mário Pedrosa (1900–81). A poet close to the visual arts, Vera pursued a diplomatic career at the Itamaraty, serving as the Brazilian Ambassador to Ecuador, Denmark and France.
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.
Tendo iniciado sua carreira nos anos 1950 e se vinculado aos grupos abstracionistas ainda na 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, sua obra assume teor acentuadamente experimental, voltando-se para experiências participativas de redescoberta do sujeito, que irão, na década seguinte, assumir caráter terapêutico.
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