![]() ![]() For his New York Parangolés, Oiticica sourced readily available material from a textile store on Canal Street. This was partly due to Oiticica’s move from his East Village loft to a considerably smaller apartment on Christopher Street in the West Village, where he used a small Singer electric sewing machine to create these wearable artworks. Though Oiticica’s major creative output during his New York Period consisted of writing and filmmaking, he began to revisit his Parangolés starting in 1972. P31 Parangolé, capa 24, Escrerbuto belongs to the discrete group of cape-like wraps meant to be worn on the body as a way of performatively activating the artwork. ![]() The phrase “parangolé”, which in Portuguese is jargon for “chaos”, derived from Oiticica’s chance encounter with the word written on a piece of burlap covering a homeless person’s shelter. Consisting of fabric-based flags, banners and tents, the Parangolés were inspired by Oiticica’s visit to a samba school in the Mangueira favela of Rio de Janeiro in 1964. Oiticica considered his Parangolés such as the present one to be his most radical work. cat., Carnegie Museum of Art, Pittsburgh, 2016, p. Embracing the notion of “creileisure”, a neologism fusing “creativity” and “leisure”, Oiticica sought to create artistic propositions that offered individuals with non-repressive forms of leisure and that would encourage them to “exercise confidence in their own intuitions and aspirations” (Lynn Zelevansky, Hélio Oiticica: To Organize Delirium, exh. Vehemently opposed to the repressive and brutal dictatorship in his native Brazil in the 1960s, Oiticica embraced oppositional modes of his resistance into his multi-disciplinary work. To Oiticica, art was an ethical necessity. During that time, Oiticica hosted many gatherings in his East Village loft – where friends could witness the artist’s fascinating creative universe first-hand. It was also in this period that the present owner developed a close friendship with Oiticica. While Oiticica created the majority of his work in Rio de Janeiro, his time in New York from 1970 to 1978 was particularly fruitful with regard to the relationships he forged with artists, critics, curators, musicians and writers, including William Burroughs, John Cage, as well as Patti Smith, Alice Cooper and John Lennon. Following his solo exhibition at the Whitechapel Gallery in London in 1969, he received the prestigious Guggenheim Foundation fellowship in 1970. Unlike the Concrete art movement in Brazil, which closely studied European artists like Max Bill and Theo van Doesburg, Neo-Concretism called for greater sensual engagement and viewer participation. Along with artists like Ivan Serpa and Lygia Clark, Oiticica and the Neo-Concretos would forever transform Brazilian modern art. A key figure in Brazil’s progressive art scene, he was a leading member of the Brazilian Neo-Concreto movement, 1959-1961, and notably gave name to the multi-disciplinary Tropicália movement with his eponymous installation in 1967. ![]() While Oiticica has long been highly regarded in Latin America and in Europe, it has in large part been due to this retrospective that Oiticica’s far-reaching influence on performative and socially-engaged art practices has been given its due reverence in the United States.īy the time Oiticica moved to New York in 1970, his radical and participatory work had already garnered him critical acclaim both in his native Brazil and internationally. retrospective in twenty years that travelled from the Carnegie Museum of Art, Pittsburgh, to the Art Institute of Chicago and, most recently, to the Whitney Museum of American Art, New York, between 20. It is testament to the art historical significance of this work that it was celebrated in Hélio Oiticica: To Organize Delirium, the artist’s first U.S. The present work is a salient example of Oiticica’s infamous Parangolés, which Oiticica created between 19 with the goal of engendering what he called “lived experiences” through the spectator’s wearing of the cape-like wrap. Created in 1972 during Hélio Oiticica’s seminal New York years, P31 Parangolé, capa 24, Escrerbuto brilliantly exemplifies the pioneering Brazilian artist’s immersive and experiential art practice. ![]()
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