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Pape incised the entire surface of the woodblock with thin lines, adding several non-orthogonal lines to create the appearance of distinct planes and the suggestion of movement and space in a work that would be otherwise flat and static. In
Tecelares, Lygia Pape used "weaving" as a metaphor to evoke handiwork and a connection to Brazil's traditional and indigenous culture. Pape spoke of how indigenous Brazilian cultures had used geometry to express fundamental concepts, like the concept of collective identity. Thus, for Lygia Pape, geometry didn't represent industry or mechanization, but rather it expressed a transcendent idiom. Instead of using a gridded and rigid composition, Pape blended natural and organic patterns with incised lines that are intertwined to "warp and weft." Pape used simple materials, crafted minimally by her own hands to incorporate expression into a work that is not expressionistic.
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concrete art styles that distanced themselves from overly political art. The group was united by their desire to reject modern
Brazilian art. Grupo Frente was revolutionary for their studies in line, form, and color. Grupo Frente organized two solo exhibitions. Their first exhibition was at the Ibeu gallery in Rio in 1954, under the artist guidance of Ferreira Gullar. Their second exhibition was in 1955 at the Museum of Modern Art in Rio. Both exhibits highlighted non-traditional use of line, geometric shapes and color.
473:, has evoked the interest in exploring the attraction and repulsion in gender and sexuality. The sensual movements of a female and a male mouth are presented in slow motion, which is referred to as an implication of a vagina as well as the actions of âsucking and expelling objectsâ, according to Claudia Calirman. Although Pape persisted that this work should not be viewed as a thesis, the film reveals sexism by âimplicating the viewer in the objectification of womenâ.
275:(1959), there are slight variations in the width of the lines, revealing that a hand rather than a machine made the forms. Additionally, the rice paper's delicacy had absorbed the ink, creating imprecise edges. The black ink of the woodprint's background also reveals the natural wood grain of the block print as one can see the porous marks of the wood between the incised lines on the print. So despite the woodprint's originally Concrete identity,
984:"Two Looks at the Art Press. The Art Press: Two Centuries of Art Magazines. An exhibition organized by the Victoria and Albert Museum, London, and held at the Art Gallery of Ontario, Toronto, 10 Februaryâ25 March 1979. The Art and Pictorial Press in Canada. An exhibition organized by and held at the Art Gallery of Ontario, 10 Februaryâ25 March 1979"
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synthesizes reason and emotion. The participant is meant to have a phenomenological experience by handling the book. Each reading of the work might be different based on the individual's experiences. As Lygia Pape noted, "It's important to say that there are two plausible readings: for me it is the
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series, takes the same woodblock carving technique and is incised by thin parallel lines which are disrupted by the non-orthogonal lines that cut across the print. The two horizontally oriented lines that cut across the print break up the continuity of the parallel lines, creating the illusion of a
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n 1978 Lygia Pape began to experiment arranging and rearranging metallic strings together with her students at the Parque Lage
Gardens in Rio de Janeiro. Pape invented the word "Ttéias", which is a pun based on the Portuguese word for "web" ("teia") and for "a person or thing of grace" ("teteia").
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Papeâs first retrospective exhibition was held in 2000, with a close focus on her print practice in chronological delineation. She viewed these works as âa generative source of her fifty-plus years of artistic creationâ. When reinterpreting these artworks, Pape also adopted the form of photography
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is emblematic of the early Neo-Concrete works. The work consists of sixteen unbound cardboard "pages". The pages are 12 x 12 inches each and feature abstract images that are supposed to signify a significant moment in the creation of the world, such as the recession of water, the discovery of fire
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wood prints were originally seen purely as works of
Concrete art because of their precise and geometric aesthetic. The woodblock prints are minimalistic; they feature planes of black ink and thin lines that reveal the white rice paper underneath. The production of the series seems straightforward:
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print of the same series. Also similar to the 1959 print, the 1960 print has the same imprecise quality created by the feathering of the ink on the rice paper. It also has a very organic quality, which is produced through the patterns and swirls of the wood grain. Because of this organic pattern,
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had a debate on each otherâs âinadequate and overzealous rigor in their respective approaches to geometric abstractionâ, which promoted and inspired the former members of Grupo Frente including Lygia Pape to initiate the Neo-Concrete movement in 1959. Neo-Concrete
Movement advocates for a more
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In 1952, at the age of 25, Pape met fellow
Brazilian artists HĂ©lio Oiticica, Ivan Serpa, and AluĂsio CarvĂŁo. Together the quartet formed the Grupo Frente. The Grupo Frente organized a subtle movement that rejected the national painting style of Brazil. Grupo Frente began exploring abstract and
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Pape specifically during her Neo-Concrete period was interested in the âproposal to âlive the body.ââ This phrase indicates Papeâs interest in how the physical body acts as our mediator for all sensual experiences. Pape sought to explore this idea of the bodyâs relation in space by creating
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My concern is always invention. I always want to invent a new language that's different for me and for others, too... I want to discover new things. Because, to me, art is a way of knowing the world... to see how the world is... of getting to know the
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is even more organic and expressive than the earlier 1959 version. The print shows the grain of the woodblock even more overtly in the bottom portion of the print, while the top portion remains relatively muted. As in the other prints in this series,
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book of the creation of the world, but for others it can be the book of "creation." Through each person's experiences, there is a process of open structure through which each structure can generate its own reading."
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336:(1960) is cut by diagonal lines that disrupt the continuity of the horizontal wood grain pattern, creating movement and distinct planes in the artwork, though they are considerably more subtle than the 1959
279:(1959), is now understood as a transitional piece from the Concrete movement into the Neo-Concrete, as it is infused with non-mechanical and "handmade" qualities that seem more expressive than mechanistic.
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in Rio de
Janeiro, and was appointed professor in the School of Fine Arts of the Universidade Federal do Rio de Janeiro in 1983 as well. In 1980 she received a masters degree in philosophy from the
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This series consists of an immersive staging of semi-transparent prisms, which were created using gold thread. This piece blends realism and imaginary art, allowing the viewer to interpret
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Projeto Lygia Pape, the artist's estate, was founded by the artist before her death in 2004 and is administered by her daughter Paula Pape. In 2017, Paula Pape filed a suit in the
488:, had installation participants crawl inside a cube-shaped structure of wooden boards covered in plastic film, and then push through the film to simulate the act of being born.
507:. In her films, photography, and teaching of the 1970s and 1980s, Pape sought to investigate architectural forms and sociability of urban space in Rio de Janeiro.
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using sarcastic and critical metaphors against the
Brazilian dictatorship. From the 1980s onward, these metaphors became more subtle.
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expressive and corporeal viewing experience than the âoverly rationalâ art-making approach embraced by Grupo
Ruptura.
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in Brazil and pushed geometric art to include aspects of interaction and to engage with ethical and political themes.
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1438:. London : New York, New York: Thames & Hudson Ltd. ; Thames & Hudson Inc. 2021. p. 170.
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208:(UFTJ). Afterwards, she received an informal training in fine arts, and studied with Fayga Ostrower at the
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Rebollo
Goncalvez, Lisbeth. âThe Poetic Space by Lygia Pape.â ââArt Nexusââ 10.81 (2011): 44-48.
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was first conceived in 1979, but it was not until the 1990s that it was produced in full scale.
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and relying on both the intellectual and physical participation of the viewer. A 1967 work,
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this print seems to overtly oppose the mechanic properties associated with Concrete art.
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1030:"Sensitive and Nondiscursive Things: Lygia Pape and the Reconception of Printmaking"
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Among the videos produced in this period, the seminal film made in 1975 by Pape,
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and agriculture, hunting, and navigation. As a Neo-concrete artist, Lygia Pape's
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From 1972 to 1985, Pape taught semiotics at the School of Architecture at the
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761:"Between the Eye and the Spirit: Lygia Pape and the Renewal of Brazilian Art"
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Concrete artists, Pape transitioned into the short wave of Neo-Concrete art.
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1238:"Lygia Pape in Transit: Performing Site in 1960s-1970s Rio de Janeiro"
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alleging an infringement of copyright of her mother's 2003 sculpture
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Although Pape used a ruled edge and a compass to create the lines in
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1172:"Epidermic' and Visceral Works: Lygia Pape and Anna Maria Maiolino"
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Lygia Pape's daughter sues LG Electronics over cellphone wallpaper
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Lygia Pape's daughter sues LG Electronics over cellphone wallpaper
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United States District Court for the Southern District of New York
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Pape did not work with a commercial gallery until later in life.
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movement. The term "concrete art" was coined by the Dutch artist
168:, sculptor, engraver, and filmmaker, who was a key figure in the
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Brazilian Artist's Daughter Claims LG Stole Images for Phone Ads
1178:. 35, no.2 (Old City Publishing, Inc., Woman's Art Inc): 19â27.
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735:"Lygia Pape, a Brazilian Artist Of Concrete Reality, Dies at 77"
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Her work is in the collections of the Museum of Modern Art, the
873:. Austin, Texas: Blanton Museum of Art and Fundacion Cisneros.
526:(1979) is perhaps most emblematic of her artistic process. The
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Later on in the 1960s and 1970s, Pape produced more videos and
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1509:, The Metropolitan Museum of Art, Retrieved 24 October 2018.
1533:, Kunstsammlung Nordrhein-Westfalen. Retrieved 8 May 2022.
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in packaging materials, advertising and promotions for the
1473:, Solomon R. Guggenheim Museum, Retrieved 24 October 2018.
813:, Serpentine Galleries, Retrieved online 21 October 2018.
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1350:, Hauser & Wirth, Retrieved online 22 October 2018.
1036:. 71, no.3 (Taylor & Francis, Ltd., CAA): 26â45.
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In the 1950s, Pape created her Tecelares Series. The
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Chris Dolmetsch and Katya Kazakina (July 19, 2017),
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Latin American & Caribbean Art: MoMA at El Museo
1338:, Moderna Museet, Retrieved online 21 October 2018.
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RACAR: Revue d'art canadienne / Canadian Art Review
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898:"Lygia Pape Biography, Artworks & Exhibitions"
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826:Inverted Utopias: Avant-Garde Art in Latin America
184:, she was an important artist in the expansion of
829:. Houston: The Museum of Fine Arts. p. 204.
176:in Brazil during the 1950s and 1960s. Along with
164:(7 April 1927 â 3 May 2004) was a Brazilian
1149:. Oxford: Museum of Modern Art. pp. 92â99.
565:Pape's work was included in the 2021 exhibition
410:. In explaining her approach, Lygia Pape said:
1086:. New York: The Museum of Modern Art. pp.
510:In 1981 Pape received a Guggenheim Fellowship.
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347:Untitled from the series Weavings (Tecelares)
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1521:, Moderna Museet, Retrieved 24 October 2018.
1210:Radical Women: Latin American Art, 1960-1985
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420:multi-sensorial experiences in her artwork.
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698:, several vendors of its mobile phones and
1459:"Artur Barrio, Antonio Manuel, Lygia Pape"
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627:2009 Folder Museum of Modern Art, New York
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1390:Museo Nacional Centro de Arte Reina SofĂa
1288:John Simon Guggenheim Memorial Foundation
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643:Museo Nacional Centro de Arte Reina SofĂa
556:Museo Nacional Centro de Arte Reina SofĂa
584:Artur Barrio, Antonio Manuel, Lygia Pape
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379:As scholar Adele Nelson suggested, the
196:Lygia Pape was born on 7 April 1927 in
172:movement and a later co-founder of the
220:By the age of 20, Pape had joined the
206:Universidade Federal do Rio de Janeiro
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7:
1635:20th-century Brazilian women artists
763:. Projeto Lygia Pape. Archived from
497:Federal University of Rio de Janeiro
476:Her artwork worked as a vehicle for
398:In 1959 Pape was a signatory of the
210:Museum of Modern Art, Rio de Janeiro
1485:, Retrieved online 24 October 2018.
1147:Experiment: Art in Brazil 1958-2000
1600:Lygia Pape at Venice Biennale 2009
1507:"Lygia Pape: A Multitude of Forms"
14:
1578:Sarah P. Hanson (July 21, 2017),
1560:Sarah P. Hanson (July 21, 2017),
676:Kunstsammlung Nordrhein-Westfalen
204:. Pape studied philosophy at the
1497:at the Serpentine Galleries 2011
869:Perez-Barreiro, Gabriel (2007).
650:Lygia Pape: A Multitude of Forms
268:separate plain and thus, space.
372:After her involvement with the
1630:Brazilian contemporary artists
1042:10.1080/00043249.2012.10791101
1:
1411:"'Weaving', Lygia Pape, 1957"
823:Ramirez, Mari Carmen (2004).
1495:Lygia Pape: Magnetized Space
787:"Lygia Pape | Hammer Museum"
733:Johnson, Ken (16 May 2004).
632:Lygia Pape: Magnetized Space
602:Solomon R. Guggenheim Museum
16:Brazilian artist (1927â2004)
1531:Lygia Pape. The Skin of ALL
672:Lygia Pape. The Skin of ALL
547:Pape died on 3 May 2004 in
503:, with particular focus on
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1316:Moderna Museet i Stockholm
1170:Calirman, Claudia (2014).
654:Metropolitan Museum of Art
88:Sculpture, engraving, film
1625:People from Nova Friburgo
1236:Anagnost, Adrian (2017).
493:Universidade Santa Ărsula
263:This 1959 artwork in the
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1519:"Lygia Pape: Ttéia 1, C"
1078:Basilio, Miriam (2004).
522:Of all of Pape's works,
442:The sculpture/book/poem
1471:"Brazil: Body and Soul"
1312:"Lygia Pape: Ttéia 1,C"
1204:Fajardo-Hill, Cecilia;
1145:Bowron, Astrid (2001).
759:Cocchiarale, Fernando.
539:by walking through it.
1028:Nelson, Adele (2012).
417:
400:Neo-Concrete Manifesto
79:Rio de Janeiro, Brazil
1254:10.1353/asa.2017.0046
811:"Artist - Lygia Pape"
683:Art market and estate
661:Lygia Pape: Ttéia 1,C
598:Brazil: Body and Soul
368:Neo-Concrete Movement
327:The 1960s version of
192:Early life and career
174:Neo-Concrete Movement
122:Neo-Concrete Movement
1436:Women in abstraction
1365:Museum of Modern Art
1114:. Serpentine Gallery
871:The Geometry of Hope
636:Serpentine Galleries
567:Women in Abstraction
352:Museum of Modern Art
302:Museum of Modern Art
290:Museum of Modern Art
232:The Tecelares Series
1176:Woman's Art Journal
904:. 16 September 2022
619:Biennale di Venezia
609:Biennale di Venezia
994:(1â2): 113. 1980.
946:– via JSTOR.
924:Berggruen, Olivier
740:The New York Times
700:Getty Images Korea
577:Select exhibitions
514:with no surprise.
1584:The Art Newspaper
1566:The Art Newspaper
1001:10.7202/1076885ar
518:The Ttéias series
449:Livro da Criacao
444:Livro da Criacao
425:Livro da Criacao
385:Waldemar Cordeiro
226:Theo van Doesburg
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767:on 16 March 2019
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