![]() ![]() Among the holdings of Neo-Concrete works are six major constructions by Lygia Clark (1957 to 1965) that map this artist’s radical investigations of painting in relation to new dimensions of space-time as well as the active engagement of the spectator three paintings and an objeto ativo by São Paulo artist Willys de Castro (1926–1988), which question the use of canvas as support for pictorial language and three works by Hércules Barsotti (1914–2010), also from São Paulo, who rigorously explored the two-dimensional surface through his minimal, black-and-white abstractions. The Neo-Concrete group’s emphasis on the reincorporation of subjectivity and the experience of both real time and space in the experience of the viewer-as-participant in the work resulted in daring innovations that are well represented in the Leirner Collection. Indeed, the Manifesto neoconcreto was written in reaction to the excessive rationalism of Concrete art practiced by the São Paulo-based members of the Grupo ruptura and the Concretistas. Neo-Concretos: Neo-Concretismo came together in March 1959, when the Manifesto neoconcreto was published in the Jornal do Brasil-Rio de Janeiro’s leading newspaper-and signed by a group of Rio de Janeiro and São Paulo artists who had been part of Grupo Frente (1954–56) and Arte concreta.Physical Dimensions: w 55.6 x h 44.7 cm.“To assume a critical position: the aspirin or the cure? Or the screwing: of paternalism, of inhibition, of guilt,” wrote Hélio Oiticica in 1970. The ambition was for this project to serve as a constructive criticism on the manner in which art is being handled in general. It is this facet of Hélio Oiticica that this book and exhibition tried to transmit. His art and life state that the basic action that one should take when facing the world is always to wander. ![]() For Witte de With, Oiticica’s work is extremely relevant as it transgresses stereotyped Eurocentric conceptions of Latin-american culture, rather than reinforcing our view of the ‘other’. And at the same time, though it originates in an international movement such as neo-concretism, it cannot be assimilated to an idea of international art as could be constructed by the West. Despite being locally rooted, his art is not local. Early in his career, Oiticica pioneered the concept of participatory works, which reimagined the traditional boundaries between art and life. Hélio Oiticica’s practices were strongly linked to the social and cultural realities of Brazil. There was also a strong common alliance for the destiny of Brazilian and French modernist movements. His best-known works include sculptures titled Tropicalia and Bolides that viewers could physically explore. There was Oiticica’s unbridled fascination for the prophecies of Mondrian that had even brought to the table the idea of naming the exhibition after the Oiticica’s work Homage to Mondrian. Remembered for his participation in the Neo-Concrete and Conceptual Art movements, Oiticica is famous for his paintings, sculptures, and art installations. The work of Oiticica was at home as much as in the Netherlands as it was in France. It was not accidental that two new institutions at the time that did not bear the ballast of the past and were not hindered by the presence of a collection, had taken this book and exhibition under their wings. The concept of this exhibition was introduced by Chris Dercon into the exhibition program of Witte de With center for contemporary art, in Rotterdam, and by Catherine David into the program of the Galerie Nationale du Jeu de Paume in Paris, directed by Alfred Pacquement. Witte de With and the Galerie nationale du Jeu de Paume collaborated with the Fundació Antoni Tàpies and the Centro de Arte Moderna of the Fundação Calouste Gulbenkian in Europe, and the Walker Art Center, Minneapolis in United States, to give the oeuvre of Hélio Oiticica the familiarity that it deserves. The publication Hélio Oiticica accompanied the retrospective exhibition of the Brazilian artist Hélio Oiticica (1937 – 1980), which took place at Witte de With center for contemporary art (22 February – 26 April 1992). ![]()
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