Helio Oiticica

At 42 years old, Helio Oiticica physical status not available right now. We will update Helio Oiticica's height, weight, eye color, hair color, build, and measurements.

Early life and education

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

The family of Oiticica was educated and active in liberal politics. His father, a mathematics graduate, and lepidopterologist, as well as a butterfly researcher who studied butterflies, taught mathematics. He was also a keen photographer, photographing experimental photographs that were new to Brazil. His grandfather, a well-known philologist who analyzed literary works and written records, and founded Aço Direta, an anarchist newspaper [Direct Action].

Before their father received a fellowship at the Guggenheim Foundation, Oiticica and his brothers were taught at home. During this period, 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. In 1950, the family returned to Brazil.

At the age of 16, Oiticica began enrolling in art school.

Starting in 1954, Oiticica attended courses at the Museum of Modern Art in Rio de Janeiro, Brazil, studying under Ivan Serpa. He joined Grupo Frente in 1955.

Personal life

Oiticica died as a result of hypertension in 1980.

Origticica was openly gay.

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Career

The early works of Oiticica's mid-1950s were greatly influenced by European modern art movements, notably Concrete art and De Stijl. He was a member of Grupo Frente, which was established by Ivan Serpa, under whom he had studied painting. His early paintings exhibited a palette of strong, vivid primary and secondary colors, as well as geometric shapes influenced by artists such as Piet Mondrian, Paul Klee, and Kazimir Malevich. The painting in Oiticica reverts to a much brighter and more subtle palette of oranges, yellows, reds, and browns that he maintained for the remainder of his life with some exceptions.

He became involved in the Neo-Concrete Movement, a short-lived but influential movement in 1959. The Neo-Concrete Movement rejected Concrete Art's objective nature and hoped to create art that "expresses complex human realities." This was stated in Amlcar de Castro's manifesto, Ferreira Gullar, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim, Reynaldo Jardim, Theon Spanudis, which was released in Rio de Janeiro in March 1959 as Manifesto neoconcreto.

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Neo-Concretism aimed at raising the possibility of the spectator's spatial association with the work of art. The works themselves became more like living organisms rather than static; they were designed to engage with viewers.

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He sought to “escape the boundaries of painting while still in contact with it” during Oiticica's Neo-Concrete period by using color in new ways. In 1959, he created Invencoes (Inventions). These tiny square wooden plaques (30 x 30 cm) weren't meant to be seen, but Oiticica wanted to represent it rather than let it be seen. By considering the spectator and notions of true space in his art, Oiticica challenged traditional notions of aesthetics and art practices.

In 1961, the group was disbanded. Clark and Oiticica's transitioned to experimental art addressing human body and culture. Oiticica was particularly interested in what creates culture.

In addition, color became a main theme of Oiticica's creation, and he experimented with paintings and hanging wooden sculptures with minor (sometimes barely noticeable) variations in colour within or between the sections. The hanging sculptures gradually increased in size, and later works consisted of several hanging sections that made up the overall work as a spatial extension of his first experiments with painting.

He created a line of small box shaped interactive sculptures called Bólides (fireballs) in the 1960s that had panels and doors that viewers could move and explore. Penetráveis (penetrables) were made in the 1960s and 1970s and were fun to watch and interact with. Tropicália (1967), which gave rise to the Tropicalismo movement, was the most influential of these. Parangolés, a line of fabric, plastic, and matting that were supposed to be worn as costumes but which were actually experienced as mobile sculptures, were also created by Parangolés. The first parangolés experiences were created together with dancers from the Mangrove Samba school, where Oiticica was also a participant.

Oiticica's 1970s dedication to writing and frequent interactions with many leading academics, writers, and journalists, including Haroldo de Campos, Augusto de Campos, Silviano Santiago and Waly Salomo.

He appeared in the exhibition "Soundings two" at Signals gallery London in 1965, with Josef Albers, Brancusi, Lygia Clark, and Marcel Duchamp among others.

He curated an individual exhibition at Whitechapel Art Gallery in London, 1969, which was curated by Guy Brett. The exhibition was titled "Whitechapel" in Oiticica, and it was described as a "Whitechapel experience" in the exhibit.

He appeared in the exhibition "Information" at the Museum of Modern Art in New York City in 1970.

Oiticica, who lived in New York City's East Village neighborhood, had problems with immigration, leading to his return to Rio de Janeiro, where he died.

The Tropicalismo Movement, a Brazilian cultural and artistic movement, began in the 1960s in Brazil. Oiticica played a significant role in defining the movement. The Movement emphasized music and art in order to celebrate Brazilian culture and identity. It was also a protest against the authoritarian military government, which severely restricted artistic expression. In the title of an artwork on view in Rio de Janeiro in 1967, Hélio Oiticica first coined the term "tropicala." Oiticica used the word to create humour around Brazil's image as a tropical paradise. The Tropicalismo movement began in 1968 when Brazilian musician Caetano Veloso used the term "trepicala" for a song title. The exhibition in Oiticica was supposed to look like favelas or slums. They were surrounded by palm trees, chairs, fake vines, and sand. The visitors of the exhibit were encouraged to walk in and around it as freely as they pleased. It was designed to incite free expression and criticize the political atmosphere at the time.

After being given a two-year Guggenheim Fellowship in Rio, Oiticica immigrated to New York in 1970. The fellowship was attributed to his participation in the Museum of Modern Art's exhibition of Conceptual art, "Information."

When Oiticica first arrived in New York, he intended to create an exhibit in Central Park of his penetrable: interactive paintings and sculptures first installed in Brazil. He imagined bringing a piece of Brazil to Manhattan. As a result of being unable to obtain adequate funding, the initiative was ultimately unsuccessful.

Despite the failures with the Central Park scheme, Oiticica's publication of art in other ways. He took art classes at New York University and tried film photography. One of his published films is a series of photographs in which he gives colorful capes (made from recyclable materials) called parangolés to unsuspecting passengers on the NYC subway. The subway passengers will photograph the parangolés and Oiticica, while the others are watching. A young man is captured in a parangolé on the rooftops of NYC buildings in a new film series.

His most satisfying New York art project was his apartment on the East Side. In the town, Oiticica, a gay man, felt a sense of sexual equality and liberation. He will host parties, often with rock music and opioids, and invite men to be photographed closely.

Oiticica's two-year stint ended abruptly, with the former narcologist living in New York for almost eight years. He had trouble finding ways in the art world to promote his work or funds to live in the city at the time. He was also suspected of being slightly home sick. Faced with inequalities, Oiticica turned to heroin use as he was unable to find stable jobs.

Oiticica's return to Rio de Janeiro in 1978 was deported by immigration authorities for overstaying his visa. Oiticica was also questioned about his homosexuality, according to his counsel.

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Awards

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