A year later, in 1955, he joined Grupo Frente (1952–1964), a collective that was co-founded by Serpa and embraced Concrete art. As a teenager, he learned painting under artist and educator Ivan Serpa at the Museum of Modern Art, Rio de Janeiro. PN 23 Penetrável, Magic Square 3 - Invention of Color 1978, Centro Hélio Oiticica, Brasília, Brazil, opened 30 April, 2022Īssembly Required, Pulitzer Arts Foundation, St.Oiticica was born to a scholarly family in Rio de Janeiro in 1937. Subterranean Tropicália Projects: PN15 1971/2022, Socrates Sculpture Park, Queens, NY, USA, 14 May – 14 August, 2022 Hélio Oiticica: Penetrável Macaléia, Perez Art Museum Miami, Miami, FL, USA, ongoing exhibition The Projeto Hélio Oiticica was established in Rio de Janeiro in 1980 to manage the artist’s estate. His work is included in the collections of numerous international institutions including Carnegie Museum of Art, Pittsburgh, PA, USA Inhotim Centro de Arte Contemporãnea, Belo Horizonte, Brazil Los Angeles County Museum of Art, Los Angeles, CA, USA Museo de Arte Reina Sofia, Madrid, Spain Museu de Arte Moderna, Rio de Janeiro, Brazil Museum of Fine Arts, Houston, TX, USA Museum of Modern Art, New York, NY, USA Tate Modern, London, UK Walker Art Center, Minneapolis, MN, USA the Guggenheim Abu Dhabi, United Arab Emirates and the Pérez Art Museum Miami, FL, USA, among others. Hélio Oiticica: The Body of Color was exhibited at The Museum of Fine Arts, Houston in 2006-2007 and in London at the Tate Modern in 2007. Oiticica’s work has been the subject of major recent museum exhibitions, including the critically acclaimed retrospective Hélio Oiticica: To Organize Delirium, which debuted at the Carnegie Museum of Art in Philadelphia in 2016 and traveled to the Art Institute of Chicago and the Whitney Museum of American Art in 2017. This supra-sensorial approach continued until his untimely death in 1980 at the age of 42.
#HELIO OITICICA SERIES#
It gives way to the creation of ‘ambiences’: from there arises what I call ‘anti-art,’” which he later defined as “the era of the popular participation in the creative field.” This generous and generative practice would become highly influential for subsequent generations of artists, especially his Parangolés or ‘habitable paintings’ and all-encompassing series of installations, known variously as Núcleos (ceiling-hung geometric panels forming gradual chromatic experiences) and Propositions or Penetrables (labyrinth-like architectural environments made of sand and semi-permeable cabins). Increasingly, Oiticica became a countercultural figure and underground hero, foregrounding bodily interaction with spatial and environmental concerns over pure aesthetics. “Ambient art,” he wrote, “is the overthrow of the traditional concept of painting-frame and sculpture – that belongs to the past. In the late 1950s, Oiticica would go on to become a leading figure of Brazilian Neo-Concretism (1959-61) that included other ground breaking artists such as Lygia Clark, Lygia Pape and the poet Ferreira Gullar, ultimately giving rise to the artistic movement known as Tropicalismo, named for a work of Oiticica’s from 1967. Even before the age of 20, Oiticica was a key member of the historic Rio de Janeiro-based Grupo Frente (1954-56), his radical play with geometric form and vibrant colors transcending the minimal lines of European constructivism and imbuing his work with an exuberant rhythm that resonated with the avant-garde music and poetry of his native Brazil. Hélio Oiticica (1937 – 1980) is widely regarded as one of Brazil’s leading artists of the twentieth century and a touchstone for much contemporary art made since the 1960s, primarily through his freewheeling, participatory works of art, performative environments, avant-garde films and abstract paintings.
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