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词条 Hélio Oiticica
释义

  1. Early life and education

  2. Career

      Early career    International recognition and later work  

  3. Fire

  4. Personal life

  5. Awards

  6. Exhibitions

      Group exhibitions    Solo exhibitions  

  7. Selected works

  8. Works and publications

  9. See also

  10. References

  11. Further reading

  12. External links

{{Infobox person
| name = Hélio Oiticica
| image =
| alt =
| caption =
| birth_name =
| birth_date = {{Birth date|1937|07|26}}
| birth_place = Rio de Janeiro, Brazil
| death_date = {{Death date and age|1980|03|22|1937|07|26}}
| death_place = Rio de Janeiro, Brazil
| nationality = Brazilian
| other_names = Passista
| occupation = Visual artist
Sculptor
Painter
Performance artist
Theorist
Filmmaker
Writer
| years_active = 1954-1980
| education = Museum of Modern Art, Rio de Janeiro
| movement = Neo-Concrete Movement
| works = Metaesquemas
Bilaterals
Spatial Reliefs
Inventions
Bólides
Parangolés
Penetrables
Tropicália
Eden
}}Hélio Oiticica ({{IPA-pt|ˈε.lju ɔj.tʃi.ˈsi.ka|lang}}; July 26, 1937 – March 22, 1980) was a Brazilian visual artist, sculptor, painter, performance artist, and theorist, best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art", which included Parangolés and Penetrables, like the famous Tropicália.[1] Oiticica was also a filmmaker and writer.[2][3]

Early life and education

Oiticica was born in Rio de Janeiro, Brazil to mother Ângela Santos Oiticica and father José Oiticica Filho. He had two younger brothers, architect César Oiticica, and Cláudio Oiticica.[4]

Oiticica's family was educated and involved in liberal politics. His father taught mathematics, was an engineer, entomologist, and lepidopterologist, a scientist who researched butterflies. He was also an avid photographer, creating experimental photographs that were new to Brazil. His grandfather was a well known philologist, who studied literary texts and written records, and published an anarchist newspaper called Ação Direta [Direct Action].[2][4]

Oiticica and his brothers were taught at home until their father got a fellowship at the Guggenheim Foundation.[5] During this time, from 1947 to 1949, the family lived in Washington, D.C. while their father worked at the National Museum of Natural History. Oiticica and his brothers attended Thomson Elementary School. The family returned to Brazil in 1950.[6][7]

Oiticica enrolled in art school at the age of 16 years.[2]

Starting in 1954, Oiticica attended courses at Museum of Modern Art, Rio de Janeiro, studying under Ivan Serpa. In 1955, he joined Grupo Frente.[2]

Career

Early career

Oiticica's early works, in the mid-1950s, were greatly influenced by European modern art movements, principally Concrete art and De Stijl. He was a member of Grupo Frente, founded by Ivan Serpa, under whom he had studied painting. His early paintings used a palette of strong, bright primary and secondary colours and geometric shapes influenced by artists such as Piet Mondrian, Paul Klee and Kazimir Malevich. Oiticica's painting quickly gave way to a much warmer and more subtle palette of oranges, yellows, reds and browns which he maintained, with some exceptions, for the rest of his life.

In 1959, he became involved in the short-lived but influential Neo-Concrete Movement. The Neo-Concrete Movement rejected the objective nature of Concrete Art and sought to use phenomenology to create art that "expresses complex human realities." This was stated in the manifesto written by Amílcar de Castro, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim, Theon Spanudis and published in Rio de Janeiro in March 1959 called Manifesto neoconcreto.[8]{{rp|442–443}}

Neo-Concretism focused creating an awareness within the spectator of his or her spatial relationship with the artwork. The artworks themselves became akin to living organism rather than static forms; they were made to interact with viewers.[9]{{rp|100–105}}

During Oiticica’s Neo-Concrete period, he sought to “escape the constraints of painting while remaining in dialogue with it” by utilizing color in new ways. He painted monochromes entitled Invencoes (Inventions) in 1959. These small square wooden plaques (30 x 30 cm) were not made to represent light rather Oiticica sought to embody it. Oiticica questioned traditional ideas of aesthetics and art practices by considering the spectator and ideas of real space in his work.[10]

The group disbanded in 1961. Clark and Oiticica transitioned into conceptual art dealing with ideas of the human body and culture. Oiticica was specifically interested in what creates culture.

Color became a key subject of Oiticica's work and he experimented with paintings and hanging wooden sculptures with subtle (sometimes barely perceptible) differences in colour within or between the sections. The hanging sculptures gradually grew in scale and later works consisted on many hanging sections forming the overall work, as a spatial development of his first experiments with painting.

International recognition and later work

In the 1960s, he produced a series of small box shaped interactive sculptures called Bólides (fireballs) which had panels and doors which viewers could move and explore. Throughout the 1960s and 1970s he made installations called Penetráveis (penetrables) which viewers could step into and interact with. The most influential of these was Tropicália (1967) which gave its name to the Tropicalismo movement. He also created works called Parangolés which consisted layers of fabric, plastic and matting intended to be worn like costumes but experienced as mobile sculptures. The first parangolés experiences were made together with dancers from the Mangueira Samba school, where Oiticica was also a participant.

In the 1970s, Oiticica increasingly devoted himself to writing and frequently corresponded with several important intellectuals, artists and writers both in Brazil and abroad, including Haroldo de Campos, Augusto de Campos, Silviano Santiago and Waly Salomão.

In 1965 he participated in the exhibition “Soundings two” at Signals gallery London, with Josef Albers, Brancusi, Lygia Clark, and Marcel Duchamp among others.

In 1969 he produced an individual exhibition at Whitechapel Art Gallery, London, curated by Guy Brett. Oiticica named the exhibition the “Whitechapel experience”.[11]

In 1970 he participated in the exhibition "Information" at the Museum of Modern Art in New York City.

After living in the East Village neighborhood of New York City, Oiticica had issues with immigration, which led to his return to Rio de Janeiro, where he died.[2][3]

Fire

On October 17, 2009, a fire destroyed an undetermined amount of the works by Oiticica. The collection was held at the residence of his brother César Oiticica in the neighborhood of Jardim Botânico, Rio de Janeiro. In addition to paintings and the famous Parangolés, the artist's archive of material included drawings, notes, documentaries and books, which were stored in the collection.[12][13] The fire took three hours to bring under control. Key works such as Bólides and Parangolés, including some shown at the 2007 Tate retrospective, were damaged. The cause of the fire is unknown. The building was equipped with fire alarms and other safety systems.[14] Jandira Feghali, Secretary of Culture in Rio de Janeiro, called for an investigation into the causes of the fire and whether any works can be recovered.[15] The works were stored in César Oiticica's house following a dispute over money and the adequacy of storage facilities at the Centro Municipal de Arte Hélio Oiticica.[16] The works were uninsured. A project of restoration is in development with the ministry of culture in Brazil.[17]

Personal life

Oiticica died in 1980 of a stroke as a result of hypertension.

Oiticica was openly gay.[2][3]

Awards

  • 1969: Sussex University, Brighton, Resident artist
  • 1970: Guggenheim Fellowship, Fine Arts: Latin America & Caribbean; Painting, Sculpture, & Installation Art[18]

Exhibitions

Group exhibitions

  • 1960: "Konkrete Kunst." 50 Jahre Entwicklung, Helmhaus (Zurich) [traveling exhibition]
  • 1967: "Nova objectividade brasileira." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
  • 1977: "Projeto construtivo brasileiro na arte. 1950–1962." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro); Pinacoteca do Estado de São Paulo (São Paulo)
  • 1984: "Tradição e ruptura. Síntese de arte e cultura brasileras." Fundação Bienal de São Paulo (São Paulo)
  • 1987: "Modernidade. Art brésilien du 20e siècle." Musée d’art moderne de la Ville de Paris (Paris)
  • 1988–90: "The Latin American Spirit. Art and Artists in the United States, 1920–1970." Bronx Museum of the Arts (New York) [traveling exhibition]
  • 1989–90: "Art in Latin America. The Modern Era, 1820–1980." The Hayward Gallery (London); Nationalmuseum / Moderna Museet (Stockholm); Palacio de Velázquez (Madrid)
  • 1992: "Bilderwelt Brasilien." Kunsthaus Zürich (Zurich)
  • 1992–93: "Artistas latinoamericanos del siglo XX." Estación Plaza de Armas (Seville); Musée national d’art moderne, Centre national d’art et de culture Georges Pompidou (Paris); Josef-Haubrich-Kunsthalle (Cologne); The Museum of Modern Art (New York)
  • 1994: Bienal Brasil Século XX (São Paulo) [traveling exhibition]
  • 1994: XXII Bienal Internacional de Arte de São Paulo (Special Room) (São Paulo)
  • 1998: XXIV Bienal Internacional de Arte de São Paulo (São Paulo)
  • 1998: "Hélio Oiticica e a cena americana." Centro de Arte Hélio Oiticica (Rio de Janeiro)
  • 1999: "The Experimental Exercise of Freedom. Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica and Mira Schendel." Museum of Contemporary Art (Los Angeles)[19]
  • 2000: "Heterotopías. Medio siglo sin lugar. 1918–1968." Museo Nacional Centro de Arte Reina Sofía (Madrid)
  • 2001: "Geometric Abstraction. Latin American Art from the Patricia Phelps de Cisneros Collection." Fogg Art Museum (Cambridge, Massachusetts)
  • 2001–2: "Brazil: Body & Soul." Solomon R. Guggenheim Museum (New York); Museo Guggenheim (Bilbao)
  • 2002: "Além dos pré-conceitos. Experimentos dos anos 60." Museu de Arte Moderna (São Paulo)
  • 2002: "PoT, 2nd Liverpool Biennial." Commercial Unit 6 (Liverpool)
  • 2003: "Cuasi-corpus. Arte concreto y neoconcreto de Brasil." Museo de Arte Contemporáneo Internacional Rufino Tamayo (Mexico City); Museo de Arte Contemporáneo (Monterrey)
  • 2003: "Geometrías. Abstracción geométrica latinoamericana en la Colección Cisneros." Museo de Arte Latinoamericano de Buenos Aires, Fundación Costantini (Buenos Aires)
  • 2004: "Beyond Geometry: Experiments in Form, 1940s–70s." Los Angeles County Museum of Art (Los Angeles)
  • 2004: "Inverted Utopias. Avant-Garde Art in Latin America." Museum of Fine Arts (Houston, Texas)
  • 2005: "Colour after Klein: Re-thinking Colour in Modern and Contemporary Art." Barbican Art Gallery (London)
  • 2005: "Open Systems. Rethinking Art c.1970." Tate Modern (London)
  • 2005: "O lúdico na arte." Instituto Cultural Itaú (São Paulo)
  • 2005–7: "Tropicália. A Revolution in Brazilian Culture (1967–1972)." Museum of Contemporary Art (Chicago); Barbican Art Gallery, London; Centro Cultural de Belêm (Lisbon); The Bronx Museum of the Arts." (Bronx, New York)
  • 2006: "Cruce de miradas. Visiones de América Latina. Colección Patricia Phelps de Cisneros, Museo del Palacio de Bellas Artes, Mexico City
  • 2006: Bienal del Aire, Museo de Arte Contemporáneo Sofía Imber (Caracas)
  • 2006: XXVII Bienal Internacional de Arte de São Paulo (São Paulo)
  • 2006: "The Sites of Latin American Abstraction." Cisneros Fontanals Art Foundation (Miami, Florida) [traveling exhibition]
  • 2007: "Desenho construtivista brasileiro." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
  • 2007: "New Perspectives in Latin American Art." The Museum of Modern Art (New York)
  • 2007: "The Geometry of Hope. Latin American Abstract Art from the Patricia Phelps de Cisneros Collection." Blanton Museum of Art, The University of Texas at Austin (Austin, Texas); Grey Art Gallery, New York University (New York)
  • 2008: "Face to Face. The Daros Collections." Daros Latinamerica Collection (Zurich)
  • 2008: "Time & Place. Rio de Janeiro 1956–1964." Moderna Museet (Stockholm)
  • 2008: Biennale of Sidney (Sidney)
  • 2008–9: "Neo Tropicália. When Lives Become Form: Contemporary Brazilian Art, 1960s to the present." Museum of Contemporary Art (Tokyo); City Museum of Contemporary Art (Hiroshima)
  • 2010: "Tropicália. Die 60s in Brasilien." Kunsthalle Wien (Vienna, Austria)[20]
    • Oiticica's Parangolé P4 Cape 1, 1968 adorns the poster of the exhibition, showing a very young Caetano Veloso
  • 2010: IXXX Bienal Internacional de Arte de São Paulo (São Paulo)
  • 2010: "Das Verlangen nach Form – O Desejo da Forma. Neoconcretismo und zeitgenössische Kunst aus Brasilien." Akademie der Künste (Berlin)
  • 2010: "Vibración. Moderne Kunst aus Lateinamerika. The Ella Fontanals-Cisneros Collection." Bundeskunsthalle (Bonn)
  • 2017–2018: "Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros." Getty Center (Los Angeles, California) (August 29, 2017 – February 11, 2018)[21]

Solo exhibitions

  • 1966: "Hélio Oiticica." Galeria G4 (Rio de Janeiro)
  • 1969: "Hélio Oiticica." Whitechapel Gallery (London)[11]
  • 1989: "Grupo Frente e Metaesquemas." Galeria São Paulo (São Paulo)
  • 1989: "Mundo-abrigo." 110 Arte Contemporânea (Rio de Janeiro) [catalogue]
  • 1992–97: "Hélio Oiticica." Witte de With Center for Contemporary Art (Rotterdam); Galerie nationale du Jeu de Paume (Paris); Fundació Antoni Tàpies (Barcelona); Centro de Arte Moderna da Fundação Calouste Gulbenkian (Lisbon); Walker Art Center (Minneapolis, Minnesota); Centro de Arte Hélio Oiticica (Rio de Janeiro)[22][23]
  • 1994: "Hélio Oiticica, Lygia Clark." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro; Museu de Arte Moderna da Bahia (Salvador da Bahia [catalogue]
  • 1996: "Grupo frente 1955–1956. Metasquemas 1957–1958." Joel Edelstein Arte Contemporânea (Rio de Janeiro) [catalogue]
  • 1999: "L. Clark, H. Oiticica, L. Pape." Conjunto Cultural da Caixa Econômica Federal (Brasília) [catalogue]
  • 2000: "Espaço de Instalações Permanentes." Museu do Açude (Rio de Janeiro) [catalogue]
  • 2001–2: "Hélio Oiticica. Quasi-Cinemas." Wexner Center for the Arts (Columbus, Ohio); Kölnischer Kunstverein (Cologne); Whitechapel Gallery (London); New Museum of Contemporary Art (New York) [catalogue]
  • 2002: "Liam Gillick: The Wood Way. Helio Oiticica: Quasi-cinema." Whitechapel Gallery (London) [catalogue]
  • 2002: "Hélio Oiticica. Obra e estratégia." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro) [catalogue]
  • 2003: "Hélio Oiticica. Cor, imagem, poética." Centro de Arte Hélio Oiticica (Rio de Janeiro) [catalogue]
  • 2005: "Cosmococa. Programa in progress. Hélio Oiticica, Neville D’Almeida, Museo de Arte Latinoamericano de Buenos Aires." Fundación Costantini (Buenos Aires); Centro de Arte Contemporãnea Inhotim (Brumadinho) [catalogue]
  • 2006: "Penetrável." Galeria Nara Roesler (São Paulo) [brochure]
  • 2006–7: "Hélio Oiticica: The Body of Color." Museum of Fine Arts, Houston (Houston, Texas); Tate Modern (London) [catalogue][24][25][26][27]
  • 2010: "Beyond Participation. Hélio Oiticica and Neville D’Almeida in New York." The Bertha and Karl Leubsdorf Art Gallery, Hunter College (New York) [catalogue]
  • 2017: "Hélio Oiticica: To Organize Delirium." Art Institute of Chicago (Chicago); Carnegie Museum of Art (Pittsburgh), curated by Lynn Zelevansky; and Whitney Museum of American Art (New York)[28][29][30][31][32]

Selected works

  • {{MoMAobject|33162|Grupo Frente No. 73}} (1955-1956)
  • {{MoMAobject|33146|Grupo Frente No. 136}} (1956)
  • {{MoMAobject|35040|Metaesquema}} (1956)
  • {{MoMAobject|35047|Metaesquema No. 179}} (1956)
  • {{MoMAobject|205971|Untitled (Grupo Frente)}} (1957)
  • {{MoMAobject|33127|Metaesquema No. 237}} (1957)
  • [https://www.mfah.org/art/detail/60087 Metaesquema 12] at Museum of Fine Arts, Houston (1957) {{Wikidata+icon|Q28036471|y}}
  • {{MoMAobject|33108|Metaesquema No. 348}} (1958)
  • Metaesquema 362 at Carnegie Museum of Art (1958) {{Wikidata+icon|Q42882717|y}}
  • {{MoMAobject|35054|Metaesquema No. 4066}} (1958)
  • {{MoMAobject|35066|Metaesquema}} (1958)
  • [https://www.mfah.org/art/detail/60088 Vermelho cortando o branco] at Museum of Fine Arts, Houston (1958) {{Wikidata+icon|Q28036470|y}}
  • Metaesquema at Tate Modern (1958)
  • Metaesquema at Tate Modern (1958)
  • Metaesquema at Tate Modern (1958)
  • {{MoMAobject|205973|Red Monochrome}} (1959)
  • {{MoMAobject|205969|Painting 9}} (1959)
  • Bilateral ‘Teman’ BIL 003 at Tate Modern (1959)
  • Spatial Relief (red) REL 036 at Tate Modern (1959)
  • Sem título (Untitled) at Museo Nacional Centro de Arte Reina Sofía (1959) {{Wikidata+icon|Q27665876|y}}
  • {{MoMAobject|91770|Neoconcrete Relief}} (1960) {{Wikidata+icon|Q19887520|y}}
  • [https://www.mfah.org/art/detail/74688 Relevo espacial] at Museum of Fine Arts, Houston (c. 1960) {{Wikidata+icon|Q28036612|y}}
  • B11 Box Bólide 09 at Tate Modern (1964)
  • {{MoMAobject|91771|Box Bolide 12, 'archeologic'}} (1964-1965)
  • B17 Glass Bólide 05 ‘Homage to Mondrian’ at Tate Modern (1965)
  • {{MoMAobject|205970|P16 Parangolé cape 12 "From Adversity We Live"}} (1965–1992)
  • Seja marginal, seja herói (Be an Outlaw, Be a Hero) at Philadelphia Museum of Art (1967) {{Wikidata+icon|Q20816039|y}}
  • {{MoMAobject|63143|Homage to My Father (Projeto H.O.)}} (1972)
  • {{MoMAobject|69069|Homage to My Father (Projeto H.O.)}} (1972)
  • {{MoMAobject|205972|The afternoon almost evening}} (1973)

Works and publications

  • {{cite book|last1=Oiticica|first1=Hélio|last2=Brett|first2=Guy |title=Helio Oiticica|date=1969|publisher=Whitechapel Gallery|location=London|isbn=978-0-854-88001-0|language=en|type=Exhibition catalog|oclc=25209}} – catalogue of an exhibition held on 25 February-6 April 1969 at the Whitechapel Gallery
  • {{cite journal|last1=Amaral|first1=Aracy A.|last2=Oiticica|first2=Hélio|title=Hélio Oiticica|journal=Colóquio|date=February 1973|volume=S. 2, a. 15|issue=11|pages=55–60|language=pt|oclc=959182049}}
  • {{cite book|last1=Gullar|first1=Ferreira|last2=Pedrosa|first2=Mário|last3=Oiticica|first3=Hélio|title=Arte brasileira hoje [situação e perspectivas]|date=1973|publisher=Paz e Terra|location=Rio de Janeiro|language=pt|oclc=610681196}}
  • {{cite book|last1=Oiticica|first1=Hélio|title=Bloco, experiências in cosmococa: programa in progress: CC5, "Hendrix war", com Neville D'Almeida, New York, 1973|date=1974|publisher=Galeria de Arte São Paulo|location=São Paulo|language=pt, en|type=Exhibition catalog|oclc=42269185}} – Pamphlet consists of stream of consciousness monologues which accompanied two slide show exhibitions discussing both the work of Neville D'Almeida and Jimi Hendrix
  • {{cite book|last1=Vergara|first1=Carlos|last2=Oiticica|first2=Hélio |title=Carlos Vergara|date=1978|publisher=Edição FUNARTE|location=Rio de Janeiro|language=pt|type=Exhibition catalog|oclc=948424930}}
  • {{cite book|last1=Oiticica|first1=Hélio|last2=Figueiredo|first2=Luciano|last3=Pape|first3=Lygia|last4=Salomão|first4=Waly|title=Aspiro ao grande labirinto|date=1986|publisher=Rocco|location=Rio de Janeiro|language=pt|oclc=16447855}}
  • {{cite book|last1=Oiticica|first1=Hélio |others=Photography by Bardin, Desdémone |last2=Brett|first2=Guy |last3=Figueiredo |first3=Luciano |last4=Valentin |first4=Andreas |translator-last=Berg |translator-first=Stephen |title=Hélio Oiticica|date=1992|publisher=Fundació Antoni Tàpies|location=Barcelona|isbn=978-8-460-41862-7|language=en, nl|type=Exhibition catalog|oclc=959094859}} – Published in connection with an exhibition held from Feb. 22-Apr. 26, 1992 in Rotterdam, June 8-Aug. 23, 1992 in Paris, Oct. 1-Dec. 6, 1992 in Barcelona, Jan. 20-Mar. 20, 1993 in Lisbon, and Oct. 31, 1993-Feb. 20, 1994 in Minneapolis

See also

  • Anti-art
  • Grupo Frente

References

1. ^{{cite news|last1=Davis|first1=Ben|title=How to Understand Hélio Oiticica’s Journey From Art Visionary to Coke Dealer and Back Again {{!}} artnet News|url=https://news.artnet.com/exhibitions/helio-oiticica-to-organize-delirium-684380|work=artnet News|date=11 July 2017}}
2. ^1 2 3 4 5 {{cite news|last1=Cotter|first1=Holland|title=Cool Heat: An Art Outlaw Who Still Simmers|url=https://www.nytimes.com/2017/07/13/arts/design/cool-heat-an-art-outlaw-who-still-simmers.html|work=The New York Times|date=13 July 2017}}
3. ^1 2 {{cite news|last1=Schjeldahl|first1=Peter|title=Discovering the Brilliance of Hélio Oiticica|url=http://www.newyorker.com/magazine/2017/07/31/discovering-the-brilliance-of-helio-oiticica|work=The New Yorker|date=31 July 2017|language=en}}
4. ^1 {{cite web|last1=Figueiredo|first1=Ariane|title=Hélio Oiticica: 1930s|url=http://www.heliooiticica.org.br/english/biografia/bioho1930.htm|website=Projeto Hélio Oiticica}}
5. ^{{cite web|title=José Oiticica Filho, Guggenheim Fellow in Biology & Ecology, 1947, 1949 – Organismic Biology & Ecology: Latin America & Caribbean|url=https://www.gf.org/fellows/all-fellows/jose-oiticica-filho/|website=John Simon Guggenheim Foundation|date=1947}}
6. ^{{cite web|last1=Figueiredo|first1=Ariane|title=Hélio Oiticica: 1940s|url=http://www.heliooiticica.org.br/english/biografia/bioho1940.htm|website=Projeto Hélio Oiticica}}
7. ^{{cite web|last1=Figueiredo|first1=Ariane|title=Hélio Oiticica: 1950s|url=http://www.heliooiticica.org.br/english/biografia/bioho1950.htm|website=Projeto Hélio Oiticica}}
8. ^{{cite book|last1=Suárez|first1=Osbel |last2=García|first2=María Amalia|translator-last=Agnew|translator-first=Michael |editor1-last=Witschey|editor1-first=Erica|editor2-last=Fundación Juan March|title=Cold America: Geometric Abstraction in Latin América (1934–1973)|date=2011|publisher=Fundación Juan March|location=Madrid|isbn=978-84-7075-588-0|url=http://digital.march.es/catalogos/fedora/repository/cat:170/PDF|language=en|type=Exhibition catalog|oclc=707460289}} {{Wikidata+icon|Q29043205|y}}
9. ^{{cite book|last1=Brett|first1=Guy|editor1-last=Rasmussen|editor1-first=Waldo|editor2-last=Bercht|editor2-first=Fatima|editor3-last=Ferrer|editor3-first=Elizabeth|title=Latin American Artists of the Twentieth Century|date=1993|publisher=The Museum of Modern Art|location=New York|isbn=978-0-870-70424-6|type=Exhibition catalog|chapter=Lygia Clark and Hélio Oiticica|oclc=735320789}}
10. ^{{cite journal|last1=Amor|first1=Monica|title=From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964|journal=Grey Room|date=January 2010|volume=38|pages=20–37|doi=10.1162/grey.2010.1.38.20}} {{Closed access}}
11. ^1 {{cite book|last1=Oiticica|first1=Hélio |title=Helio Oiticica|date=1969|publisher=Whitechapel Gallery|location=London|isbn=978-0-854-88001-0|language=en|type=Exhibition catalog|oclc=25209}}
12. ^{{cite news|title=Notícias: Incêndio destrói acervo do artista plástico Hélio Oiticica|url=http://g1.globo.com/Noticias/Rio/0,,MUL1344720-5606,00-INCENDIO+DESTROI+ACERVO+DO+ARTISTA+PLASTICO+HELIO+OITICICA.html|work=Grupo Globo|date=17 October 2009|language=pt-br}}
13. ^{{cite news|last1=Valota|first1=Ricardo|title=Fogo destrói obras de Hélio Oiticica no Rio de Janeiro - Geral - Estadão|url=http://www.estadao.com.br/noticias/geral,fogo-destroi-obras-de-helio-oiticica-no-rio-de-janeiro,452096|work=Estadão|date=17 October 2009|language=pt-BR}}
14. ^{{cite news|last1=Lima|first1=Flavia|title=Incêndio destrói obras do artista plástico Hélio Oiticica|url=https://oglobo.globo.com/cultura/incendio-destroi-obras-do-artista-plastico-helio-oiticica-3152090|work=O Globo|date=17 October 2009|language=pt-BR}}
15. ^{{cite news|title=Incêndio que consumiu obras de Oiticica provoca debate sobre conservação e guarda de acervos|url=http://zh.clicrbs.com.br/rs/noticia/2009/10/incendio-que-consumiu-obras-de-oiticica-provoca-debate-sobre-conservacao-e-guarda-de-acervos-2689509.html|work=Zero Hora|date=19 October 2009|language=pt-br}}
16. ^{{cite news|title=Obras de Hélio Oiticica destruídas em incêndio eram motivo de impasse entre família e ...|url=http://oglobo.globo.com/cultura/mat/2009/10/17/obras-de-helio-oiticica-destruidas-em-incendio-eram-motivo-de-impasse-entre-familia-prefeitura-do-rio-768100073.asp|work=O Globo|date=17 October 2009|language=pt-BR}}
17. ^{{cite news|last1=Fradkin|first1=Eduardo|title=Parte das obras de Hélio Oiticica destruídas em incêndio pode ser recuperada|url=https://oglobo.globo.com/cultura/parte-das-obras-de-helio-oiticica-destruidas-em-incendio-pode-ser-recuperada-3151589|work=O Globo|date=17 October 2009|language=pt-BR}}
18. ^{{cite web|title=Hélio Oiticica, 1970 – Fine Arts: Latin America & Caribbean; Painting, Sculpture, & Installation Art|url=https://www.gf.org/fellows/all-fellows/helio-oiticica/|website=John Simon Guggenheim Foundation|date=1970}}
19. ^ {{cite book|last1=Carvajal|first1=Rina |last2=Ruiz|first2=Alma |last3=Carvaja|first3=Rina |last4=Rolnik|first4=Suely |last5=Sánchez|first5=Osvaldo |last6=David|first6=Catherine |last7=Salzstein|first7=Sónia |editor1-last=Martin|editor1-first=Susan|editor2-last=Ruiz|editor2-first=Alma|title=The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica, Mira Schendel|date=1999|publisher=Museum of Contemporary Art|location=Los Angeles|isbn=978-0-914-35764-3|type=Exhibition catalog|language=en|oclc=606278433}}
20. ^{{cite web|title=Tropicália. Die 60s in Brasilien (28 January 2010-5 February 2010)|url=http://kunsthallewien.at/#/de/ausstellungen/vergangene-ausstellungen/tropicalia-die-60s-brasilien|website=Kunsthalle Wien|language=de|date=January 28, 2010}}
21. ^{{cite book|last1=Gottschaller|first1=Pia|last2=Le Blanc|first2=Aleca|editor1-last=Gottschaller|editor1-first=Pia|editor2-last=Le Blanc|editor2-first=Aleca|editor3-last=Gilbert|editor3-first=Zanna|editor4-last=Learner|editor4-first=Tom|editor5-last=Perchuk|editor5-first=Andrew|title=Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros|date=2017|publisher=Getty Conservation Institute and Getty Research Institute / Getty Publications|location=Los Angeles|isbn=978-1-606-06529-7|url=https://books.google.com/books?id=63EsDwAAQBAJ&printsec=frontcover&dq=Making+art+concrete&hl=en&sa=X&ved=0ahUKEwjlqeeetdvVAhWLxIMKHWvKCEQQ6AEIKDAA#v=onepage&q=Making%20art%20concrete&f=false|format=Exhibition catalog|language=en|oclc=982373712}} {{Wikidata+icon|Q36789877|y}}
22. ^{{cite web|title=Hélio Oiticica (2/10/1992 - 8/12/1992)|url=https://www.fundaciotapies.org/site/spip.php?rubrique138|website=Fundació Antoni Tàpies|date=1992}}
23. ^{{cite book|last1=Oiticica|first1=Hélio |others=Photography by Bardin, Desdémone |last2=Brett|first2=Guy |last3=Figueiredo |first3=Luciano |last4=Valentin |first4=Andreas |translator-last=Berg |translator-first=Stephen |title=Hélio Oiticica|date=1992|publisher=Fundació Antoni Tàpies|location=Barcelona|isbn=978-8-460-41862-7|language=en, nl|type=Exhibition catalog|oclc=959094859}}
24. ^{{cite news|title=Hélio Oiticica: The Body of Colour – Exhibition at Tate Modern|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/helio-oiticica-body-colour|work=Tate Modern|date=6 June 2007}}
25. ^{{cite news|last1=Smith|first1=Roberta|title=Hélio Oiticica: The Body of Color - Art - Review|url=https://www.nytimes.com/2007/03/17/arts/design/17oiti.html|work=The New York Times|date=17 March 2007}}
26. ^{{cite news|title=El cuerpo del color/ The Body of Color - Literal Magazine|url=http://literal.ltidev.com/assets/l8_hoiticica.pdf|work=Literal Magazine|date=8 April 2012|language=en}}
27. ^{{cite news|last1=Searle|first1=Adrian|title=And it was all yellow|url=https://www.theguardian.com/artanddesign/2007/jun/07/art|work=The Guardian|date=7 June 2007}}
28. ^{{cite news|last1=Pifer|first1=Jenelle|title=Organizing Delirium: Inside the World of Hélio Oiticica|url=https://blog.cmoa.org/2016/09/organizing-delirium-inside-the-world-of-helio-oiticica/|work=Carnegie Museum of Art|date=26 September 2016|language=en-us}}
29. ^{{cite news|last1=Heyman|first1=Stephen|title=The Brazilian Genius Who Pioneered Installation Art Is Finally Getting His Due|url=http://www.vogue.com/article/helio-oiticica-retrospective-carnegie-museum|work=Vogue|date=29 October 2016|language=en}}
30. ^{{cite web|title=Hélio Oiticica: To Organize Delirium (February 18, 2017–May 7, 2017)|url=http://www.artic.edu/exhibition/h-lio-oiticica-organize-delirium|website=The Art Institute of Chicago|language=en|date=18 February 2017}}
31. ^{{cite news|last1=Waxman|first1=Lori|title=Helio Oiticica's show is sensory overload, in all the best ways|url=http://www.chicagotribune.com/entertainment/museums/ct-helio-oiticica-art-institute-review-ent-0427-20170425-column.html|work=Chicago Tribune|date=26 April 2017}}
32. ^{{cite web|title=Hélio Oiticica: To Organize Delirium|url=http://whitney.org/Exhibitions/HelioOiticica|website=Whitney Museum of American Art|language=en|date=14 July 2017}}

Further reading

  • {{cite book|last1=Favaretto|first1=Celso Fernando|last2=Oiticica|first2=Hélio|title=A invenção de Hélio Oiticica|date=1992|publisher=Edusp Ed. da Univ. de São Paulo|location=São Paulo|isbn=978-8-531-40065-0|url=https://www.worldcat.org/title/invencao-de-helio-oiticica/oclc/29791456/viewport|language=pt|oclc=29791456}}
  • {{cite book|last1=Brett|first1=Guy|editor1-last=Rasmussen|editor1-first=Waldo|editor2-last=Bercht|editor2-first=Fatima|editor3-last=Ferrer|editor3-first=Elizabeth|title=Latin American Artists of the Twentieth Century|date=1993|publisher=The Museum of Modern Art|location=New York|isbn=978-0-870-70424-6|type=Exhibition catalog|chapter=Lygia Clark and Hélio Oiticica|oclc=735320789|pages=100–105}} – Exhibition, Museum of Modern Art, New York, June 6 - September 7, 1993
  • {{cite journal|last1=Brett|first1=Guy|title=Hélio Oiticica|journal=Tate Papers|date=Autumn 2007|issue=8|url=http://www.tate.org.uk/research/publications/tate-papers/08/helio-oiticica|publisher=Tate Modern|location=London|language=en|issn=1753-9854}}
  • {{cite book|last1=Jiménez|first1=Ariel|last2=Herkenhoff|first2=Paulo|title=Desenhar no Espaço: Artistas Abstratos do Brasil e da Venezuela na Coleção Patricia Phelps de Cisneros|date=2010|publisher=Fundação Iberê Camargo|location=Porto Alegre, Brazil|isbn=978-85-89680-16-5|url=http://www.iberecamargo.org.br/site/uploads/multimediaExposicao/061220111216_Desenhar_no_Espaco.pdf|language=pt, en, es|type=Exhibition catalog|oclc=722764644}} {{Wikidata+icon|Q29032462|y}} – Catalog of an exhibition held at Fundação Iberê Camargo, Porto Alegre, Brazil, July 29-Oct. 31, 2010 and at Pinacoteca do Estado de São Paulo, São Paulo, Brazil, Nov. 27, 2010-Jan. 30, 2011
  • {{cite book|last1=Buchmann|first1=Sabeth|last2=Cruz|first2=Max Jorge Hinderer|last3=Oiticica|first3=Hélio|last4=D'Almeida|first4=Neville|title=Hélio Oiticica and Neville D'Almeida: Block Experiments in Cosmococa – Program in Progress|date=2013|publisher=Afterall Books|location=London|isbn=978-1-846-38096-9|url=https://www.worldcat.org/title/helio-oiticica-and-neville-dalmeida-block-experiments-in-cosmococa-program-in-progress/oclc/813930842/viewport|oclc=813930842}}
  • {{cite book|last1=Suárez|first1=Osbel |last2=García|first2=María Amalia|translator-last=Agnew|translator-first=Michael |editor1-last=Witschey|editor1-first=Erica|editor2-last=Fundación Juan March|title=Cold America: Geometric Abstraction in Latin América (1934–1973)|date=2011|publisher=Fundación Juan March|location=Madrid|isbn=978-84-7075-588-0|url=http://digital.march.es/catalogos/fedora/repository/cat:170/PDF|language=en|type=Exhibition catalog|oclc=707460289}} {{Wikidata+icon|Q29043205|y}} – Exhibition catalog of Cold America, Geometric Abstraction in Latin America (1934–1973), Fundación Juan March, Madrid, February 11-May 15, 2011
  • {{cite book|last1=Oiticica Filho|first1=César|title=Hélio Oiticica|date=2012|location=Brazil|language=pt, en|type=Film (94 min)}}
  • {{cite book|last1=Gottschaller|first1=Pia|last2=Le Blanc|first2=Aleca|editor1-last=Gottschaller|editor1-first=Pia|editor2-last=Le Blanc|editor2-first=Aleca|editor3-last=Gilbert|editor3-first=Zanna|editor4-last=Learner|editor4-first=Tom|editor5-last=Perchuk|editor5-first=Andrew|title=Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros|date=2017|publisher=Getty Conservation Institute and Getty Research Institute / Getty Publications|location=Los Angeles|isbn=978-1-606-06529-7|url=https://books.google.com/books?id=63EsDwAAQBAJ&printsec=frontcover&dq=Making+art+concrete&hl=en&sa=X&ved=0ahUKEwjlqeeetdvVAhWLxIMKHWvKCEQQ6AEIKDAA#v=onepage&q=Making%20art%20concrete&f=false|type=Exhibition catalog|language=en|oclc=982373712}} {{Wikidata+icon|Q36789877|y}}

External links

{{Commons category|Hélio Oiticica}}
  • Projeto Hélio Oiticica
  • {{MoMA artist|7715|Hélio Oiticica}}
  • {{Enciclopédia Itaú Cultural|pessoa48/helio-oiticica|Hélio Oiticica}}
  • {{IMDb name|nm0645262}}
{{Authority control}}{{DEFAULTSORT:Oiticica, Hélio}}

10 : 1937 births|1980 deaths|Brazilian sculptors|People associated with the University of Sussex|Brazilian anarchists|Tropicália|Artists from Rio de Janeiro (city)|20th-century sculptors|20th-century Brazilian painters|Brazilian contemporary artists
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