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Uma nova crítica
1970Nelson Motta remarks on how strange he finds the discrepancies between contemporary works in the disciplines of film, music, and the visual arts. He asserts that it is impossible to hold onto traditional criticism and its discursive models since they [...]ICAA Record ID: 1110632 -
Parangolé : da anti-arte as apropriações ambientais de Oiticica
1967These are Hélio Oiticica’s notes, written in 1966 and 1967, in which he outlines the basic descriptions for the “Parangolés,” his series of multicolored capes. He associates the series with the concept of “anti-art” and the active [...]ICAA Record ID: 1110631 -
Os objetos-ideogramas de Gerchman
1970In this essay, written in a critical-poetic style, Hélio Oiticica examines the connections between words and objects in Rubens Gerchman’s work, and calls them “objeto-ideograma” [object-ideogram]. These works seek to hold a dialogue about [...]ICAA Record ID: 1110630 -
O objeto : instâncias do problema do objeto
1968In this essay, Hélio Oiticica discusses the nature of the “object” in contemporary art. He begins by analyzing the development of the object in modern art, though he considers it to be an extreme version of form. In his opinion, the object [...]ICAA Record ID: 1110629 -
Ligia Pape
1975In this essay, Hélio Oiticica reviews Lygia Pape’s career, which has been skyrocketing ever since her Livro da criação, produced in 1960. Oiticica notes that Pape’s work is increasingly concerned with sensory experience, a trend that has been [...]ICAA Record ID: 1110628 -
Helio Oiticica Retrospective at the Whitechapel Gallery, until April 6: Oiticica talks to Guy Brett
1969The 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 [...]ICAA Record ID: 1110627 -
[Este trabalho é]
1973This poetic text by the artist Rubens Gerchman is based on the opposition of certain words. Influenced by concrete poetry, this text is similar to works Gerchman produced at the time when the connection between word and image, and word and object, [...]ICAA Record ID: 1110626 -
[Considerações ociosas em tôrno de uma festinha]
1970This interview features Luís Otávio Pimentel and Flammarion, the organizers of and participants in Orgramurbana, the happening at the Aterro do Flamengo beach in Rio de Janeiro in 1970. Both of them say that Orgramurbana was a “post concept” [...]ICAA Record ID: 1110625 -
Fardo factual
1970This text consists of statements by the organizers of the event entitled Orgramurbana, a neologism that means something like “ogres organized in the urban area.” An artistic event that attempted to connect to the community, Orgramurbana was held [...]ICAA Record ID: 1110624 -
Eat me - a gula ou a luxúria?
1975In this text Lygia Pape emphasizes the existing connection between poetic and topological space, something which the artist had been delving into since her beginnings in neo-concrete art (1959). She refers to a space in which internal / external [...]ICAA Record ID: 1110623 -
Arte Ambiental, arte pós-moderna, Helio Oiticica
1966Critic Mário Pedrosa terms Hélio Oiticica’s recent work “post-modern,” given that he no longer relies on criteria established by Cubism, but rather on other innovative stimuli. In his judgment, this “post-modern” work begins a new cycle [...]ICAA Record ID: 1110622 -
[Apocalipopótese no Pavilhão Japonês]
1968Hélio Oiticica and Rogério Duarte describe the group experience called Apocalipopótese, a hybrid term that combines the words Apocalypse, hypothesis, and hippopotamus. The essay is written in a decidedly irreverent, poetic style that establishes a [...]ICAA Record ID: 1110621 -
Aparecimento do suprasensorial na arte brasileira
1968In this essay, Hélio Oiticica discusses the ruptures to be created by a new objectual perspective in Brazilian art that he uses to define his concept of “super-sensory” experience. He is referring to art installations of an (inner) libertarian [...]ICAA Record ID: 1110620 -
A obra aberta
1969In this essay, Hélio Oiticica discusses the concept of the “open work,” an approach to art that ignores the boundaries and the actual physical existence of the object. In this case, the object does not exist as something endowed with its own [...]ICAA Record ID: 1110619 -
Paulo Herkenhoff: exposição da arte
1975This is a text written by the then artist Paulo Herkenhoff for the exhibition Exposição de Arte, held in the Experimental Room at the Museu de Arte Moderna do Rio de Janeiro (MAM-Rio), from November 20 to December 7, 1975. Here, Herkenhoff [...]ICAA Record ID: 1110618 -
Os dois Brasis
1977The critic Roberto Pontual reviews Brasil Nativo - Brasil Alienígena, the series of works produced by Anna Bella Geiger. In keeping with the name “Situações Limite” suggested by the artist, Pontual observes how she articulates her attempt to [...]ICAA Record ID: 1110617 -
Inserções em circuitos ideológicos
1970This is a proposal for a work of art, by Cildo Meireles, to be called “Inserções em Circuitos Ideológicos — Projeto Coca-Cola.” In the proposal, the Brazilian artist gives specific instructions for the execution of the project: make the [...]ICAA Record ID: 1110615 -
Cinema de Artista: 16a. Bienal de S. Paulo
1981This is the script that was used to introduce the films shown at the Cinema de Artista during the sixteenth Bienal de São Paulo in 1981. The critic Ligia Canongia and the visual artist Iole de Freitas wrote what is essentially a synopsis of [...]ICAA Record ID: 1110614 -
A estratégia de Cildo Meireles
1978This is a review of the following emblematic works produced by Cildo Meireles: “Inserções em Circuitos Ideológicos,” “Espaços Virtuais: Cantos,” and “Blindhotland.” According to the art critic Wilson Coutinho, these works suggest a [...]ICAA Record ID: 1110613 -
Um panorama brasileiro
1976The authors of this jointly-written article were the consultants for Arte Agora I - Brasil 70-75, the exhibition organized by the Museu de Arte Moderna do Rio de Janeiro in 1975. The art critics Roberto Pontual, Olívio Tavares Araújo, Márcio [...]ICAA Record ID: 1110604 -
Tunga: os outros nomes do zero ou as metonímias do um
1974In poetic language, psychoanalyst M. D. Magno writes on the breadth of Tunga’s artistic production. The text was published on the occasion of the artist’s first exhibition, which was held in 1974 at the Museu de Arte Moderna in Rio de Janeiro. [...]ICAA Record ID: 1110603 -
Leticia Parente : medida
1976In this essay the artist Letícia Parente discusses her process, how she works. She explores the origins of the challenge to the “place” of the individual who chooses to present himself to society as a “vehicle” for permanent inquiry [...]ICAA Record ID: 1110601 -
Fantasias; Fragmentos
1971The artist Artur Barrio wrote these two ironic, unprecedented texts, using a kind of experimental writing that explores processes and “the fragmentary.” He deployed this kind of writing whether delving into everyday banality (“Fragments”) or [...]ICAA Record ID: 1110600 -
Exposição Carlos Zilio
1975Carlos Zílio endorses the attitude which, in his opinion, should be adopted by artists who wish to express any form of resistance. He protests against the critical reviews issued by those involved in the promotion or exposure of works of art, [...]ICAA Record ID: 1110599 -
Depoimento I
1970This text is an artistic testimony by Artur Barrio in which he clarifies matters that are the foundation of his work. These include the relationship between the artist and the viewing public, the viewers’ participation in the work, the broadening [...]ICAA Record ID: 1110598 -
Cadernoslivros
1978Written in August 1978, this text is the artist’s testimony regarding what he calls his Cadernoslivros [notebook-books], which he started making as early as 1966. What Barrio emphasizes about these is the process that stimulates his poetics [poí [...]ICAA Record ID: 1110597 -
Exposição Regina Vater / Restos da Paissagem
1976This text written by the artist Regina Vater is a declaration of principles, based on which she emphasizes the link between word and image. She goes on to point out the image’s important role as a constituent of a new language. The writer/artist is [...]ICAA Record ID: 1110596 -
DOM,...O,,DE...P...PEL
1971This is a poetic text by Artur Barrio, an experimental artist living in Brazil. The piece refers to both the process and the experience of his Situações, activities he carried out throughout the 1970s. In this case, the artist freely (ad lib) [...]ICAA Record ID: 1110595 -
Cildo Meireles: Eureka/Blindhotland
1975Cildo Meireles explains his series Blindhotland in the wider context of his production. In his view, Blindhotland demonstrates the limits and limitations of vision as opposed to the senses of touch and smell. Indeed, this would be a constant concern [...]ICAA Record ID: 1110594 -
A velha arte agora
1976The discussion of the art system in Brazil in the text “A velha arte agora” [Old Art, Today] is clearly influenced by the curatorial work of Brazilian art critic Roberto Pontual. The statement revolves around the following topics: the ideology of [...]ICAA Record ID: 1110593 -
Proposta para a sala de arte experimental no Museu de Arte Moderna - Rio de Janeiro
1975This proposal was submitted to the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) by the Brazilian artist known as Tunga, for an exhibition of his work at the museum’s Sala Experimental. In this text, the author identifies the concept of & [...]ICAA Record ID: 1110564 -
Valtércio Caldas : luz e enigma
1974In this article about Valtércio Caldas, Roberto Pontual discusses the artist’s methods and the universe he has explored in his work since his 1973 exhibition at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro). Pontual describes the enigmatic [...]ICAA Record ID: 1110563 -
Vergara, por Vergara
1969Carlos Vergara talks about his visual art, explaining that the material he uses in his work is not necessarily relevant in itself; it is more of an instrument, a vehicle for the direct transmission of reality. The artist from Rio de Janeiro explains [...]ICAA Record ID: 1110562 -
Sem falar, sem calar, mostrar
1977Sônia Andrade’s video artworks bring the idea of communication to the forefront of the discussion. Audiovisual media function as an index/sign of the issue in question by addressing the relationships between communication and illusion, and [...]ICAA Record ID: 1110560 -
Plástica do Desejo
1980This review of Tunga’s work was written by the critic Wilson Coutinho on the occasion of “Tunga,” the exhibition of works by the Brazilian artist at the Espaço ABC (Rio de Janeiro, 1980). Coutinho describes him as one of the few experimental [...]ICAA Record ID: 1110559 -
Opinião provoca manifesto
1966This newspaper column by the critic Harry Laus includes a transcript of the manifesto written by some of the artists who participated in Opinião 66, the seminal exhibition held at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) that year. The [...]ICAA Record ID: 1110558 -
O pão nosso de cada dia
1980The critic and curator Fernando Cocchiarale reviews O Pão Nosso de cada dia [Our Daily Bread], the series by Anna Bella Geiger. In his opinion, the artist’s other more characteristic works, such as her maps, express the artist’s concept of [...]ICAA Record ID: 1110557 -
"Malasartes" vai nascer, debatendo a situação do artista brasileiro
1975Carlos Zílio, Carlos Vergara, Rubens Gerchman, and Waltercio Caldas, cofounders of Malasartes magazine, co-wrote this article in which they discuss the magazine’s genesis and the goals it set out to accomplish as a monitor of Brazilian art in the [...]ICAA Record ID: 1110556 -
Leitura crítica do real
1976In this review, the critic Ronaldo Brito discusses Atensão [Attention, there is tension], the exhibition of works by the visual artist Carlos Zílio. Brito explains that the exhibition space consists of an area in which the works create tensions in [...]ICAA Record ID: 1110555 -
Carlos Augusto Vergara
1970This is a poetic critique of Carlos Vergara’s work, written by Hélio Oiticica. The review posits questions concerning the history of Brazilian modern art in which Oiticica, referring to Vergara’s pieces, identifies what he calls a work of art’ [...]ICAA Record ID: 1110552 -
Atensão
1976Carlos Zílio wrote this essay for Atensão, the exhibition of his own works at the Sala Experimental do Museu de Arte Moderna in Rio de Janeiro in 1976. Zílio discusses specific features of his work, from his conception of the exhibition as a whole [...]ICAA Record ID: 1110551 -
A Opinião Brasileira de 66
1966Frederico Morais reviews Opinião 66, the exhibition presented at the Museu de Arte Moderna do Rio de Janeiro in 1966. He compares the exhibited works and the state of art in Brazil to the art being produced in France at the time, arguing that the [...]ICAA Record ID: 1110550 -
A arte e a hora do papelão
1969In this interview Daniel Más asks the artist Carlos Vergara about the works he showed at the Petite Galerie in 1969. He discusses the significance of certain materials in his work; cardboard, for example, which he describes as a poor material that, [...]ICAA Record ID: 1110549
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