Em 1969, apresenta-se em Londres, na Whitechapel Gallery, o projeto Éden, composto de Tendas, Bólides e Parangolés. Nesse período, percebe-se que eles atuam no sentido de construir uma linguagem própria à vanguarda brasileira dos anos 1960, assumindo conotações fortemente éticas e políticas, além do plano estético. Although well-known in Brazil, Hélio Oiticica has only gradually come to be recognized internationally as one of the most profound and adventurous artists of recent times. ): Hélio Oiticica: Curating the Penetráveis, Bielefeld: transcript 2016, 191 S., zahlr. In the mid-1960s Oiticica began to make the Bólides (or Fireballs), sculptural objects aimed at exploring the structure of colour.
Artwork page for ‘B11 Box Bólide 09’, Hélio Oiticica, 1964 The Bólides (or Fireballs) are a series of sculptural objects, which Oiticica referred to as ‘Trans-Objects’, in which colour is apparently ‘inflamed’ by light and therefore embodies energy. Hélio Oiticica era um artista medíocre, se chegou a tanto, e seu discurso era falho. His early paintings used a … Collection of César and Claudio Oiticica. Hélio Oiticica’s investigations into the essence of art led him to challenge the boundaries between art, life, and the viewer. Originally designed to be handled, they frequently incorporate raw earth or pigment in powdered form and other inexpensive, everyday or organic materials such as shells. Hélio Oiticica, born in Rio de Janeiro in 1937, was the son of an entomologist who was also a photographer and painter, and the grandson of a philologist and anarchist leader. Conceitos como "a obra de arte é apenas o ato artístico mumificado em um museu" não significam nada. In 1963, Hélio Oiticica, an essential figure in Brazilian postwar art, began to make his “Bólides,” a series of objects, drawing from the language of geometric abstraction, that viewers were invited to physically interact with. Hélio Oiticica was one of the most radical artists of the 20th century, both in the Brazilian and the international panorama. Hélio Oiticica B16 – Bolide – Box 12, “Archeological” 1964-65 Not on view Around 1963 Oiticica began work on his series titled Bólides (Fireballs), one of the most distinctive, unique, and inventive sculptural models made in the Americas during the second half of the twentieth century. Helio Oiticica mete al espectador de lleno en el proceso de creación del artista, en sus memorias y reflexiones sobre el arte. Os Bólides do Pr ogr ama Ambiental de Hélio Oiticica O texto aborda os Bólides de Hélio Oiticica, desenvolvidos no âmbito do Pro - grama Ambiental, entre os anos de 1965-1966 e início de 1967. Espero que o século 21 não tenha a mesma dificuldade para enxergar o óbvio que teve o século 20. Oiticica's early works, in the mid 1950s, were greatly influenced by European modern art movements. He began his artistic career in 1954, studying painting under Ivan Serpa at the Museu de Arte Moderna (Modern Art Museum) in Rio de Janeiro. The Glass Bólides were a distinct group, consisting of large glass jars or containers.
Oiticica was supremely sensitive to the context in which the work was presented. The Bólides (or Fireballs) are a series of sculptural objects, which Oiticica referred to as ‘Trans-Objects’, in which colour is apparently ‘inflamed’ by light and therefore embodies energy. Tropicália, 1966-67. Hélio Oiticica com Bólide Cara de Cavalo Preocupado com a vida em comunidade surge à proposição Crelazer, ligada à percepção criativa do lazer não repressivo e à valorização do ócio.
Rezension über Stefanie Heraeus (Hg. Hélio Oiticica, one of the most famous figures of Brazil’s mid-century surge of experimental art, once said that his goal was to strike “a fatal … Abb., ISBN 978-3-8376-3737-3, EUR 34,99 Hélio Oiticica's work is as vivid and fluttering as an origami bird - but in his short lifetime, he proved himself to be a serious and influential artist, says Adrian Searle. In 1963, Hélio Oiticica, an essential figure in Brazilian postwar art, began to make his “Bólides,” a series of objects, drawing from the language of geometric abstraction, that viewers were invited to physically interact with.
He was a painter, a sculptor and a performance artist. His experiments renewed well-known media (drawing, painting, sculpture, object, film, video) as well as a number of them that he himself invented. The aim was to involve spectators in such a way that the duration of their engagement with the work feel like a substantial and unrepeatable experience.