Hello,
I received this information from the international poet and performer Cleme=
nte Padin
and as it is about Brazilian culture and the movement Tropicalia, I think i=
t is very
important to send to you. In fact I studied a little bit of this movement=
and much about the artists Lygia Clark and Lygia Pape (both in the
exhibition below ) in my dissertation of thesis (1994). I do recomend you t=
o
know more about all of this. It is a very important period of Brazilian art=
and culture.
Bye,
Regina
http://www2.uol.com.br/tropicalia/frame.htm (Here is a site about the Tropi=
calia movement - English and Portuguese)
PS: The link I sent yesterday was wrong, if you do not discover the correct=
link yet, the correct URL is:
http://arteonline.arq.br/museu/library_pdf/david_inkey.htm - Enjoy!
************************************************************
David Medalla At The Barbican Art Gallery In London During The "Tropicalia"
Exhibition, Wednesday, March 29, 2006
David Medalla, FF alumnus and director of the London Biennale, will give a
talk at the Barbican Art Gallery in London on Wednesday, March 29, 2006, at
6:30 p.m., in the context of the "Tropicalia" exhibition curated by Carlos
Basualdo. The talk will focus on Medalla's recollections of the 60s when
Brazilian artists, musicians and film-makers came to London in exile from
the repressive military regime then in power in Brazil. In the 60s, when
Swinging London saw the birth of Flower Power, David Medalla and Paul
Keeler exhibited in their legendary gallery SIGNALS on the corner of
Wigmore street and Wimpole street the work of the leading Brazilian artists
of that time. To accompany their exhibitions, David Medalla published
photographs of art works and articles on and by Lygia Clark, Sergio de
Camargo, Helio Oiticica, Mira Schendel and Rossini Perez, among others,
plus poems and essays by contemporary Brazilian poets and critics such as
Ferreira Gullar, Walmir Ayala and Mario Pedrosa, in the magazine SIGNALS
whch the young Medalla brilliantly edited.
While in London the carioca artist Helio Oiticica initiated the
"Tropicalia" movement, during the "Eden" exhibition he gave at the
Whitechapel Art Gallery. The "Tropicalia" movement counted among its
members the musicians Caetano Veloso and Gilberto Gil. The latter,
incidentally, is the present Minister of Culture of Brazil in the
government of President Lula.
During the time he stayed in England, Helio Oiticica lived in the room of
David Medalla at 99 Balls Pond Road in Dalston, London, the home of the
Exploding Galaxy, a group of multi-media international artists which
Medalla initiated. The young film-maker Eduardo Clark, son of the artist
Lygia Clark, also lived in the same house. During his talk at the Barbican
Art Gallery, David Medalla will recall the strong intellectual bonding he
had with Lygia Clark, Helio Oiticica, Sergio de Camargo and Lygia Pape, all
four brilliant artists who created new artistic propositions which
propelled Brazilian art of the 60s unto the international artworld. A DVD
disc compiled by French artist Valerie Vivancos of videos she made during
"Rio Trajetorias" of performances by Adam Nankervis and David Medalla in
homage to those four Brazilian artists will accompany the talk.
To celebrate his friendship with those four Brazilian artists (with whom
Medalla shared ideas of a democratic art), David Medalla will follow his
talk at the Barbican Art Gallery with an impromptu performance entitled
"Mano a Mano, Mangal, Mango, Mangeira". Several young London Biennale
artists will participate in Medalla's impromptu performance, including the
Australian artist Adam Nankervis (founder & director of Museum Man), the
poet Salih Kayra from Kyrenia, the Brazilian saxophonist Luciano Oltramari,
the Filipino percussionist Jamil Reyes, and the Catalan guitarist Roger
Cortina. The German fim-maker and video artist Fritz Stolberg will film the
performance, while multi-media and installatiion artist Marko Stepanov will
make digital photographic documentation of the entire event. The impromptu
performance will conclude with a batufada when David Medalla will invite
the audience to join him and the poet, artist and musicians to dance the
samba in the Eden environment of Helio Oiticica inside the Barbican Art
Gallery, in the true and living spirit of "Tropicalia".
************************************************************
Regina Celia Pinto
http://arteonline.arq.br/
http://arteonline.arq.br/library.htm
************************************************************
David Medalla At The Barbican Art Gallery In London During The "Tropicalia" Exhibition
-
Type: discussion
Comments
Lygia Clark is especially under discussed in the "new media" scene (as
is Oiticica)… i saw the Tropicalia show in Chicago at the MCA and it
was great to see some of Clark's works (or facsimiles) in person. The
"relational object" and "clothing-body-clothing" works seem so
prescient and relevant that it seems so ridiculous that they aren't
mentioned more.
anyway, glad someone mentioned this here…
is your dissertation on line anywhere Regina?
thanks,
ryan
On Mar 22, 2006, at 5:50 AM, Regina Pinto wrote:
> Hello,
>
> I received this information from the international poet and performer
> Clemente Padin
> and as it is about Brazilian culture and the movement Tropicalia, I
> think it is very
> important to send to you. In fact
Hello Ryan,
You are completely right about Lygia Clark and Helio Oiticica. In fact, for
me , they were already working with "new medias", in 60's.
Lygia Clark, was always opening new ways, concepts. Constantly searching for
the meeting with the public she represented the new, the revolution, the
transformation. We spent the year of 1993 researching at MAM (Museum of
Modern Art - Rio de Janeiro) - section of documentation), there we read lots
and lots of texts and letters by the artist. It is impressive the way that
her thought guesses the times we are living now. Also is impressive that
she was completey rational about what she was doing.
She started the "Bicho" (Animal) in 1959 and it was in this work that the
interactivity appeared. She always said that no one could know how many
positions the "Bicho" (Animal) could do, only the "Bicho" knew. It was
impossible for her an atitude of passivity between we and the "Bicho".
In the work "Caminhando" (Walking) the work was not present, the new
"information" or concept that the work contained was to show that the
spectator is that gave sense to the work, it was the spectator who updated
the work. What Lygia Clark was really judging was the Art itself, and she
done it in a totally current way. Through the 'Ribbon of Moebius', where
the inside is an extension of the outside and vice-versa, she revealed all
the duplicities of the virtual, present in the relationship between left
and right, inside and outside. Contrasting with our established habits of
space , the 'Ribbon of Moebius' allows us to live the experience of a
continuous space, a topologic space, the cyberspace(?, in 60's) where the
opposite configurations can be felt in the same moment - the space of the
art, the space of virtuality.
Lygia Clark elaborated the "Roupa Corpo Roupa " (Clothing Body Clothing), a
series of interactive clothing that tried to establish a contact between the
two sexes through the man's discovery of himself in the woman, and
vice-versa. The first of that series was called "I and You", and consisted
of two sets of clothing linked with an umbilical cord. When opening the
zippers of their partner's clothes, man and woman are surprised to find
their own body in the partner's body..
Clothing elaborated by Lygia had a function opposite from habitual clothes.
Instead of covering and protecting the body, they were made to unveil it.
The body transformed the individual's conscience in face / mask imposed by
the society. Clothes are a mediator between society and nature. With them,
the social imposition of the "I" gives a place to the restrained nature. The
individual as a social being also gives a place to an anonymous being.
Hidden in the "Clothes Body Clothes", he/she escapes from the determination
of the group. A thick plastic barrier encourages the touch and allows the
individual to keep contact with other forces, normally contained, especially
those always found in the relationship man/woman, the contradictory forces
of Love and Death, Eros and Thanatos.
Fearing this after life that is not more life, but which is Death, human
beings of our society start to fear death and accept the life that is
imposed to them. So that they are transformed into beings incapable of
offering their lives to themselves, incapable of running the risk of dying.
Incapable of living, because not wanting to die and not wanting to live are
the same thing. Incapable of living, because there is only one way not to
die: to be already dead.
I will talk about the relational objects in another message. It is hard for
me to write long texts in English. ( I hope you can understand my English!)
Below you have a link where you will find lots of information about Lygia
Clark.
http://www.google.com/search?hl=en&q=%22Lygia+Clark%22&btnG=Google+Search
My dissertation of thesis ""Four views* in search of a reader, important
women, art and identity," was writen in Portuguese and there is only a
portion of it on line, but in Portuguese, it is the portion on Celeida
Tostes, another very important Brazilian artist. The text in portuguese is
at:
http://arteonline.arq.br/museu/library_pdf/celeida_tostes.pdf
Also you find a series of images of her work "Passage" that I think that
will interest you at: http://arteonline.arq.br/museu/interviews/celeida.htm
The problem to publish my text about Lygia Clark is the great quantity of
photographies and texts/letters written by the artist. In fact, the
copyright belongs to her family and it will be very expensive or better
sayind, impossible.
* The four views were the views of Lygia Clark, Lygia Pape and Celeida
Tostes. It is a pos-modern text because I gave the word to them too. So
that, the text is composed by many texts, by myself and by them. It is the
reader who must unify the texts and get s/he own interpretation. Of course,
at the conclusion of the dissertation, I wrote my own interpretation.
Thanks for your interest, if you have any question, ask me,
Regina
—– Original Message —–
From: "Ryan Griffis" <[email protected]>
To: "rhizome" <[email protected]>
Sent: Wednesday, March 22, 2006 4:32 PM
Subject: Re: RHIZOME_RAW: David Medalla At The Barbican Art Gallery In
London During The "Tropicalia" Exhibition
> Lygia Clark is especially under discussed in the "new media" scene (as is
> Oiticica)… i saw the Tropicalia show in Chicago at the MCA and it was
> great to see some of Clark's works (or facsimiles) in person. The
> "relational object" and "clothing-body-clothing" works seem so prescient
> and relevant that it seems so ridiculous that they aren't mentioned more.
> anyway, glad someone mentioned this here…
> is your dissertation on line anywhere Regina?
> thanks,
> ryan
>
> On Mar 22, 2006, at 5:50 AM, Regina Pinto wrote:
>
>> Hello,
>>
>> I received this information from the international poet and performer
>> Clemente Padin
>> and as it is about Brazilian culture and the movement Tropicalia, I think
>> it is very
>> important to send to you. In fact I studied a little bit of this movement
>> and much about the artists Lygia Clark and Lygia Pape (both in the
>> exhibition below ) in my dissertation of thesis (1994). I do recomend you
>> to
>> know more about all of this. It is a very important period of Brazilian
>> art
>> and culture.
>
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>
Hy Ryan,
Correcting a mistake:
* The four views were the views of Lygia Clark, Lygia Pape, Celeida
Tostes [and mine.] >this portion was missing in my previuos message.
Bye,
Regina
Thanks for all that Regina.
I've got an OK book that includes Clark called The Experimental
Exercise of Freedom (along with Oiticica, Gego, Goeritz, an Schendel).
we just ran an interesting article discussing Oiticica in relation to
some new media ideas…
http://joaap.org/4/issue4.php?page=botey
best,
ryan
Thanks for the link Ryan, quite good!
Below two good texts in English by Suely Rolnik about Lygia Clark. There you
will find good information about relational objects, as I have promised.
http://www1.uol.com.br/bienal/24bienal/nuh/inuhclark02a.htm
http://www.uni-bielefeld.de/IFF/for/projekte/kunstprojekt/english/referate/rolnik.htm
best,
Regina
—– Original Message —–
From: "Ryan Griffis" <[email protected]>
To: "rhizome" <[email protected]>
Sent: Wednesday, March 22, 2006 8:51 PM
Subject: Re: RHIZOME_RAW: David Medalla At The Barbican Art Gallery In
London During The "Tropicalia" Exhibition
> Thanks for all that Regina.
> I've got an OK book that includes Clark called The Experimental Exercise
> of Freedom (along with Oiticica, Gego, Goeritz, an Schendel).
> we just ran an interesting article discussing Oiticica in relation to some
> new media ideas…
> http://joaap.org/4/issue4.php?page=botey
> best,
> ryan
> +
> -> post: [email protected]
> -> questions: [email protected]
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>
>