Exhibition and book revisit visionary work of artist Hélio Oiticica
In the quest for art that resonates with everyday life, intertwining with the streets and cityscape, artist Hélio Oiticica held a distinctive and revolutionary perspective. His vision, even after his untimely passing at the age of 42 in 1980, emphasized the importance of installations, paintings, and sculptures being intimately connected to ordinary citizens, rather than confined solely to studios or museums. This approach infused the commonplace with poeticity.
On the occasion of what would have been his 86th birthday—he was born on July 26, 1937, an exhibition at the Centro Cultural Banco do Brasil in Brasília, along with a revealing collection of letters in a book, pay homage to his timeless creations, as experts attest to their enduring significance.
The exhibition, "Delirium Ambulatorium," showcases over 80 works from various phases of Oiticica's life. The exhibition's name, as described by curator Moacir dos Anjos, a researcher from Pernambuco, harks back to a term the artist used to describe his main creative catalyst—contact with the world through traversing the city.
Motivation
"This exhibition attempts a comprehensive retrospective, spanning the entire spectrum of his artistic journey," explains Moacir dos Anjos. He contextualizes Oiticica's art from the 1950s, initially connected to the constructive tradition of Brazilian art, marked by geometric forms.
"Gradually, this evolved into fragmented works, first as drawings on paper, and then transformed into objects that occupy space and invite interaction. People become an integral part of the artworks," he exemplifies.
What once adorned walls as paintings now unfolds as art in open spaces. The 1960s significantly influenced Oiticica's art, encompassing encounters with the musicians of Tropicália, immersion in popular culture, the rhythms of Mangueira Samba School, and the interplay between bodily movements and architecture, the researcher explains.
"A certain swing and improvisation, fundamental to grasping the body's autonomy and protagonism," the curator emphasizes.
According to Oiticica's vision, the artist's role shifts to that of a facilitator, creating situations wherein people discover and coexist with art. "He erases the boundaries between artist and non-artist, between the museum and the street," he added.
Letters
Another way to get to know Hélio Oiticica's thinking is to read the letters he penned to friends, fellow artists, and family members. The book, "Hélio Oiticica: Cartas 1962-1970," meticulously compiled during more than four years of work by researcher Tânia Rivera, a professor at the Federal University of Rio de Janeiro, in collaboration with Carlos Oiticica Filho, the project's initiator, offers a profound exploration spanning over 300 pages.
"From a young age, he diligently kept copies of the letters he wrote. Hence, we have an extensive collection that underwent meticulous research. This volume represents the first part, with a second one covering the 1970s scheduled for release in 2025. In the 1960s, a time of bustling ideas, creative output, life in London, and reactions to the military dictatorship, these letters reveal the thinking of a young man who was ahead of his time," elucidates Rivera.
Tânia Rivera considers the letters akin to chronicles of his era: "In my view, these letters should be regarded as an integral part of the artist's oeuvre. They reflect an extraordinary intensity in seeking complete synergy between art and life. At times amusing, at times profound, they offer a profound glimpse into the thoughts of the young artist who departed too early."
