![]() ![]() His artistic practice began with geometric and abstract investigations in painting and drawing. Hélio Oiticica (b.1937) is a Brazilian artist and activist most prolifically working through the 1950s until his untimely death in 1980. A comforting room like this is a simple space –anyone can create it but Hélio did construct it in a way that gives the viewer a new stage to experience life as art and art as life. The emotion of jumping on a mattress to a melodic rock song induces a feeling of childlike fantasy. The world changes and so does art but because Oiticica created this piece to be enveloping, it adapts keeping its purpose always in sight, to merge art and life.īy creating a room like this, Hélio Oiticica constructed a place where a person viewing can do whatever they’d like. ![]() The piece has not lost its context and shows how immersive and timeless art truly is. Today, although no longer contemporary it related to its own time by mirroring the new music scene and the increase in drug use by creative communities. The difference in time reminds the viewer of its simplicity and the purpose behind it. At the time, Oiticica’s piece was as unorthodox as it is now. Oiticica’s piece is representative of the impact that American pop culture has had upon foreign nations. As in many of his pieces, Hélio Oiticica leaves an interactive space creating a room where the possibilities are left up to one’s imagination. The Rolling Stones were creating a world, changing music and the song itself stands in to create an emotion. In the background the song “Sister Morphine” by The Rolling Stones is heard alongside sounds of a typewriter. Because the picture is displayed on all four walls, one is inevitably looking at this projection in every direction, fully submerged. Cocaine was commonly used by artists and a focus of many of Hélio’s pieces. The picture of the album is manipulated by Hélio Oiticica as he traces many parts of the album cover with trails of cocaine then taking a series of picture. On the walls, the picture projected is the album cover of Goats Head Soup by The Rolling Stones. ![]() Be eaten up as you sink into the mattress. The person viewing the piece is invited into the room one can stand on the mattress, jump, and walk around. CC6 COKE’S HEAD SOUP is a room with white walls and a mattress covering the entire floor. The piece itself is unorthodox and what Oiticica described as Anti-Art. Oiticica was largely influenced by the time period he lived in and as CC6 COKE’S HEAD SOUP was made in 1973 this was a great epoch of culture for him to work with. His method of delivering art is demonstrated in his installation, CC6 COKE’S HEAD SOUP, where Hélio Oiticica uses music, images, and the senses to bring together an immersive experience. Hélio Oiticica created his art in hope of bringing a new approach to how one experiences art. ![]() Too often these expectations deprive many viewers of being able to experience art. Recent retrospectives of the artist’s work have been presented at the Art Institute of Chicago (2017) Whitney Museum of American Art, New York (2017) Museum of Fine Arts, Houston (2006–07) and the Museu de Arte Moderna do Rio de Janeiro (2002).Visiting a museum often consists of standing in front of pieces of art not knowing what to look at or even what to think. 1980, Rio de Janeiro) founded, along with his generational peers Lygia Clark, Lygia Pape, and Ferreira Gullar, the Neo-Concrete movement in 1959, using visual geometries as a way of making the spectators aware of their spatial relationship to the artwork. The “Bólides” were made at an important moment in the development of Brazilian art and in the artist’s own trajectory, against a social backdrop in which Brazil’s military regime was becoming ever more repressive, leading to a tumultuous political atmosphere and increased economic disparity. 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. 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. This presentation examines an important series of works created by Hélio Oiticica at a crucial transformational period in the artist’s development. ![]()
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