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military government that severely limited artistic freedom of expression. Hélio
Oiticica first coined the word “Tropicala” in the title of an artwork exhibited in Rio de Janeiro in 1967. Oiticica used the word to create irony around the stereotypes of Brazil as a tropical paradise. Once Brazilian musician Caetano Veloso used “Tropicala” for a song title in 1968, the Tropicalismo movement took form. Oiticica’s exhibit was a pop-up structure meant to look like favelas or slums. They were surrounded by palm trees, chairs fake vines and sand. Viewers of the exhibit were encouraged to walk in and around it as freely as they chose. It was meant to inspire free expression and oppose the political climate at the time.
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617:, called for an investigation into the causes of the fire and whether any works can be recovered. 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. The works were uninsured. A project of restoration is in development with the ministry of culture in Brazil.
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Despite the setbacks with the
Central Park project, Oiticica published art in other ways. He took art classes at New York University and experimented with film photographs. One example of his published film is a set of photographs where he gives colorful capes (made from recyclable materials), called
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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
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Oiticica severely overstayed his two-year fellowship, remaining in New York for almost eight years. In that time, he faced difficulties finding connections in the art world to promote his work or resources to live in the city. It was also suspected he became slightly home sick. Facing disparity,
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When
Oiticica first arrived in New York, he planned to create an installation in Central Park of his penetrable interactive paintings and sculptures first installed in Brazil. He envisioned bringing a piece of Brazil to Manhattan. The project was ultimately unsuccessful as he was unable to
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The
Tropicalismo Movement was a creative and artistic movement that began in Brazil towards the end of the 1960s. Oiticica played a huge role in defining the movement. The Movement emphasized music and art meant to celebrate Brazilian culture and identity. It was also a protest to the oppressive
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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
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In the 1960s, Oiticica 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
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His most compulsive New York art project was his East side apartment. Oiticica, who was gay, felt a sense of sexual freedom and liberation in the city. He would host parties, often with rock music and drugs, and invite men to be photographed intimately.
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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.
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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
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Neo-Concretism focused creating an awareness within the spectator of their spatial relationship with the artwork. The artworks themselves became akin to living organism rather than static forms; they were made to interact with viewers.
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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
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Oiticica moved to New York in 1970 after he was awarded a two-year
Guggenheim Fellowship in Rio. The fellowship was connected to his participation with the Museum of Modern Art’s exhibition of Conceptual art, “Information.”
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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
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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. Jandira Feghali, Secretary of Culture in
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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)
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In 1978, Oiticica returned to Rio de Janeiro where he was berated by Immigration officials for overstaying his visa. According to his lawyer, Oiticica was also questioned about his homosexuality.
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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)
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the artist's archive of material included drawings, notes, documentaries and books, which were stored in the collection. The fire took three hours to bring under control. Key works such as
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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
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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)
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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.
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2003: "Cuasi-corpus. Arte concreto y neoconcreto de Brasil." Museo de Arte Contemporáneo Internacional Rufino Tamayo (Mexico City); Museo de Arte Contemporáneo (Monterrey)
289:, 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
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2003: "Geometrías. Abstracción geométrica latinoamericana en la Colección Cisneros." Museo de Arte Latinoamericano de Buenos Aires, Fundación Costantini (Buenos Aires)
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1989–90: "Art in Latin America. The Modern Era, 1820–1980." The Hayward Gallery (London); Nationalmuseum / Moderna Museet (Stockholm); Palacio de Velázquez (Madrid)
503:. During the 1970s, Oiticica increasingly devoted himself to writing and corresponded with intellectuals, artists and writers both in Brazil and abroad, including
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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)
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1999: "The Experimental Exercise of Freedom. Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica and Mira Schendel." Museum of Contemporary Art (Los Angeles)
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Carvajal, Rina; Ruiz, Alma; Carvaja, Rina; Rolnik, Suely; Sánchez, Osvaldo; David, Catherine; Salzstein, Sónia (1999). Martin, Susan; Ruiz, Alma (eds.).
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1469:– Pamphlet consists of stream of consciousness monologues which accompanied two slide show exhibitions discussing both the work of Neville D'Almeida and
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2010: "Beyond Participation. Hélio Oiticica and Neville D’Almeida in New York." The Bertha and Karl Leubsdorf Art Gallery, Hunter College (New York)
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to mother Ângela Santos Oiticica and father José Oiticica Filho, Oiticia had two younger brothers (architect) César Oiticica and Cláudio Oiticica.
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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
2497:(Exhibition catalog) (in English and Dutch). Translated by Berg, Stephen. Photography by Bardin, Desdémone. Barcelona: Fundació Antoni Tàpies.
1681:"José Oiticica Filho, Guggenheim Fellow in Biology & Ecology, 1947, 1949 – Organismic Biology & Ecology: Latin America & Caribbean"
1514:(Exhibition catalog) (in English and Dutch). Translated by Berg, Stephen. Photography by Bardin, Desdémone. Barcelona: Fundació Antoni Tàpies.
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2001: "Geometric Abstraction. Latin American Art from the Patricia Phelps de Cisneros Collection." Fogg Art Museum (Cambridge, Massachusetts)
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2006: "Cruce de miradas. Visiones de América Latina. Colección Patricia Phelps de Cisneros, Museo del Palacio de Bellas Artes, Mexico City
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2010: "Das Verlangen nach Form – O Desejo da Forma. Neoconcretismo und zeitgenössische Kunst aus Brasilien." Akademie der Künste (Berlin)
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2923:, 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
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Gottschaller, Pia; Le Blanc, Aleca (2017). Gottschaller, Pia; Le Blanc, Aleca; Gilbert, Zanna; Learner, Tom; Perchuk, Andrew (eds.).
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Gottschaller, Pia; Le Blanc, Aleca (2017). Gottschaller, Pia; Le Blanc, Aleca; Gilbert, Zanna; Learner, Tom; Perchuk, Andrew (eds.).
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article by Oliver Basciano, "Coked-up caped crusader: how Hélio Oiticica liberated the art world with drugs, nests and hammocks", in
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and Oiticica would photograph them trying it on. In a different film series, Oiticica photographs a young man standing in a
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2761:"Pérez Art Museum Miami Announces New Acquisitions by Thirteen Artists for Permanent Collection • Pérez Art Museum Miami"
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Amor, Monica (January 2010). "From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964".
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A exposição Hélio Oiticica – Museu é o Mundo (21 de dezembro 2010), no Museu Nacional Honestino Guimarães, em Brasília
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Brett, Guy (1993). "Lygia Clark and Hélio Oiticica". In Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (eds.).
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Brett, Guy (1993). "Lygia Clark and Hélio Oiticica". In Rasmussen, Waldo; Bercht, Fatima; Ferrer, Elizabeth (eds.).
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3026:(Exhibition catalog). Los Angeles: Getty Conservation Institute and Getty Research Institute / Getty Publications.
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2010: "Vibración. Moderne Kunst aus Lateinamerika. The Ella Fontanals-Cisneros Collection." Bundeskunsthalle (Bonn)
354:, founded by Ivan Serpa, under whom he had studied painting. His early paintings used a palette of strong, bright
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Bloco, experiências in cosmococa: programa in progress: CC5, "Hendrix war", com Neville D'Almeida, New York, 1973
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Oiticica's family was educated and involved in liberal politics. His father taught mathematics, was an engineer,
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2017–2018: "Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros."
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dealing with ideas of the human body and culture. Oiticica was specifically interested in what creates culture.
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Oiticica's early works, in the mid-1950s, were greatly influenced by European modern art movements, principally
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2355:"Hélio Oiticica, 1970 – Fine Arts: Latin America & Caribbean; Painting, Sculpture, & Installation Art"
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2005: "Colour after Klein: Re-thinking Colour in Modern and Contemporary Art." Barbican Art Gallery (London)
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1570:"How to Understand Hélio Oiticica's Journey From Art Visionary to Coke Dealer and Back Again | artnet News"
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2876:(Exhibition catalog) (in Portuguese, English, and Spanish). Porto Alegre, Brazil: Fundação Iberê Camargo.
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1996: "Grupo frente 1955–1956. Metasquemas 1957–1958." Joel Edelstein Arte Contemporânea (Rio de Janeiro)
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2000: "Heterotopías. Medio siglo sin lugar. 1918–1968." Museo Nacional Centro de Arte Reina Sofía (Madrid)
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1984: "Tradição e ruptura. Síntese de arte e cultura brasileras." Fundação Bienal de São Paulo (São Paulo)
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on the rooftops NYC buildings. The young man was Brazilian jiu jitsu master Romero Cavalcanti in 1972.
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The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias Goeritz, Hélio Oiticica, Mira Schendel
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2004: "Beyond Geometry: Experiments in Form, 1940s–70s." Los Angeles County Museum of Art (Los Angeles)
311:. Oiticica and his brothers attended Thomson Elementary School. The family returned to Brazil in 1950.
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Desenhar no Espaço: Artistas Abstratos do Brasil e da Venezuela na Coleção Patricia Phelps de Cisneros
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2018: "Helio Oiticica: Spatial Relief and Drawings - 1955-59." Galerie LeLong & Co., New York City
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2001–2: "Brazil: Body & Soul." Solomon R. Guggenheim Museum (New York); Museo Guggenheim (Bilbao)
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2002: "Hélio Oiticica. Obra e estratégia." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
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2006: "The Sites of Latin American Abstraction." Cisneros Fontanals Art Foundation (Miami, Florida)
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sections forming the overall work, as a spatial development of his first experiments with painting.
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to create art that "expresses complex human realities." This was stated in the manifesto written by
247:, for his innovative use of color, and for what he later termed "environmental art," which included
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2007: "Desenho construtivista brasileiro." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
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1987: "Modernidade. Art brésilien du 20e siècle." Musée d’art moderne de la Ville de Paris (Paris)
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Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
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Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
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1999: "L. Clark, H. Oiticica, L. Pape." Conjunto Cultural da Caixa Econômica Federal (Brasília)
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2004: "Inverted Utopias. Avant-Garde Art in Latin America." Museum of Fine Arts (Houston, Texas)
2713:"Hélio Oiticica - Spatial Relief and Drawings, 1955–59 - Exhibitions - Galerie Lelong & Co"
2436:. Los Angeles: Getty Conservation Institute and Getty Research Institute / Getty Publications.
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2002: "Liam Gillick: The Wood Way. Helio Oiticica: Quasi-cinema." Whitechapel Gallery (London)
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1967: "Nova objectividade brasileira." Museu de Arte Moderna do Rio de Janeiro (Rio de Janeiro)
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2295:"Incêndio que consumiu obras de Oiticica provoca debate sobre conservação e guarda de acervos"
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293:, who studied literary texts and written records, and published an anarchist newspaper called
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243:, sculptor, painter, performance artist, and theorist best known for his participation in the
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2184:"How to Understand Hélio Oiticica's Journey From Art Visionary to Coke Dealer and Back Again"
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2003: "Hélio Oiticica. Cor, imagem, poética." Centro de Arte Hélio Oiticica (Rio de Janeiro)
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2315:"Obras de Hélio Oiticica destruídas em incêndio eram motivo de impasse entre família e ..."
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2002: "Além dos pré-conceitos. Experimentos dos anos 60." Museu de Arte Moderna (São Paulo)
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Suárez, Osbel; García, María Amalia (2011). Witschey, Erica; Fundación Juan March (eds.).
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Hélio Oiticica and Neville D'Almeida: Block Experiments in Cosmococa – Program in Progress
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Suárez, Osbel; García, María Amalia (2011). Witschey, Erica; Fundación Juan March (eds.).
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1998: "Hélio Oiticica e a cena americana." Centro de Arte Hélio Oiticica (Rio de Janeiro)
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Oiticica and his brothers were taught at home until their father got a fellowship at the
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Buchmann, Sabeth; Cruz, Max Jorge Hinderer; Oiticica, Hélio; D'Almeida, Neville (2013).
1459:(Exhibition catalog) (in Portuguese and English). São Paulo: Galeria de Arte São Paulo.
1417:– catalogue of an exhibition held on 25 February-6 April 1969 at the Whitechapel Gallery
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1988–90: "The Latin American Spirit. Art and Artists in the United States, 1920–1970."
656:, Fine Arts: Latin America & Caribbean; Painting, Sculpture, & Installation Art
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2008: "Face to Face. The Daros Collections." Daros Latinamerica Collection (Zurich)
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2007: "New Perspectives in Latin American Art." The Museum of Modern Art (New York)
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2960:(Exhibition catalog). Translated by Agnew, Michael. Madrid: Fundación Juan March.
1766:(Exhibition catalog). Translated by Agnew, Michael. Madrid: Fundación Juan March.
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to unsuspecting passengers on the NYC subway. The subway riders would examine the
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2632:"The Brazilian Genius Who Pioneered Installation Art Is Finally Getting His Due"
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1994: XXII Bienal Internacional de Arte de São Paulo (Special Room) (São Paulo)
2335:"Parte das obras de Hélio Oiticica destruídas em incêndio pode ser recuperada"
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2008: "Time & Place. Rio de Janeiro 1956–1964." Moderna Museet (Stockholm)
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Oiticica turned to drug dealing when he was unable to find consistent jobs.
2818:(Exhibition catalog). New York: The Museum of Modern Art. pp. 100–105.
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Oiticica, Hélio; Brett, Guy; Figueiredo, Luciano; Valentin, Andreas (1992).
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Oiticica, Hélio; Brett, Guy; Figueiredo, Luciano; Valentin, Andreas (1992).
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2000: "Espaço de Instalações Permanentes." Museu do Açude (Rio de Janeiro)
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2254:"Fogo destrói obras de Hélio Oiticica no Rio de Janeiro - Geral - Estadão"
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Oiticica, Hélio; Figueiredo, Luciano; Pape, Lygia; Salomão, Waly (1986).
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2838:– Exhibition, Museum of Modern Art, New York, June 6 - September 7, 1993
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866:(Minneapolis, Minnesota); Centro de Arte Hélio Oiticica (Rio de Janeiro)
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2006: Bienal del Aire, Museo de Arte Contemporáneo Sofía Imber (Caracas)
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2652:"Hélio Oiticica: To Organize Delirium (February 18, 2017–May 7, 2017)"
2233:"Notícias: Incêndio destrói acervo do artista plástico Hélio Oiticica"
1480:(Exhibition catalog) (in Portuguese). Rio de Janeiro: Edição FUNARTE.
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Amaral, Aracy A.; Oiticica, Hélio (February 1973). "Hélio Oiticica".
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2408:"Tropicália. Die 60s in Brasilien (28 January 2010-5 February 2010)"
530:, Oiticica had issues with immigration, which led to his return to
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1989: "Grupo Frente e Metaesquemas." Galeria São Paulo (São Paulo)
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2002: "PoT, 2nd Liverpool Biennial." Commercial Unit 6 (Liverpool)
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The group disbanded in 1961. Clark and Oiticica transitioned into
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Cold America, Geometric Abstraction in Latin America (1934–1973),
2673:"Helio Oiticica's show is sensory overload, in all the best ways"
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2006: XXVII Bienal Internacional de Arte de São Paulo (São Paulo)
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2005: "Open Systems. Rethinking Art c.1970." Tate Modern (London)
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In 1965 he participated in the exhibition "Soundings two" at the
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Cold America: Geometric Abstraction in Latin América (1934–1973)
2527:"Hélio Oiticica: The Body of Colour – Exhibition at Tate Modern"
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Cold America: Geometric Abstraction in Latin América (1934–1973)
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2010: IXXX Bienal Internacional de Arte de São Paulo (São Paulo)
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1998: XXIV Bienal Internacional de Arte de São Paulo (São Paulo)
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1960: "Konkrete Kunst." 50 Jahre Entwicklung, Helmhaus (Zurich)
2378:(Exhibition catalog). Los Angeles: Museum of Contemporary Art.
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824:(Los Angeles, California) (August 29, 2017 – February 11, 2018)
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1968 adorns the poster of the exhibition, showing a very young
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In 1970 he participated in the exhibition "Information" at the
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In 1959, he became involved in the short-lived but influential
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2737:"Hélio Oiticica: Penetrável Macaléia • Pérez Art Museum Miami"
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1989: "Mundo-abrigo." 110 Arte Contemporânea (Rio de Janeiro)
492:. Oiticica named the exhibition the “Whitechapel experience”.
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among others. In 1969 he produced an individual exhibition at
2791:(in Portuguese). São Paulo: Edusp Ed. da Univ. de São Paulo.
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2005: "O lúdico na arte." Instituto Cultural Itaú (São Paulo)
381:. The Neo-Concrete Movement rejected the objective nature of
2568:"El cuerpo del color/ The Body of Color - Literal Magazine"
2275:"Incêndio destrói obras do artista plástico Hélio Oiticica"
362:
colours and geometric shapes influenced by artists such as
303:. During this time, from 1947 to 1949, the family lived in
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1809:(Exhibition catalog). New York: The Museum of Modern Art.
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Gullar, Ferreira; Pedrosa, Mário; Oiticica, Hélio (1973).
2611:"Organizing Delirium: Inside the World of Hélio Oiticica"
1996:"The story of Hélio Oiticica and the Tropicália movement"
1971:"The story of Hélio Oiticica and the Tropicália movement"
1946:"The story of Hélio Oiticica and the Tropicália movement"
1921:"The story of Hélio Oiticica and the Tropicália movement"
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Oiticica enrolled in art school at the age of 16 years.
696:
1992: "Bilderwelt Brasilien." Kunsthaus Zürich (Zurich)
2993:
Fundación Juan March, Madrid, February 11-May 15, 2011
860:
Centro de Arte Moderna da Fundação Calouste Gulbenkian
897:
2006: "Penetrável." Galeria Nara Roesler (São Paulo)
417:
and published in Rio de Janeiro in March 1959 called
3001:(Film (94 min)) (in Portuguese and English). Brazil.
837:
1969: "Hélio Oiticica." Whitechapel Gallery (London)
2787:Favaretto, Celso Fernando; Oiticica, Hélio (1992).
1890:(Exhibition catalog). London: Whitechapel Gallery.
1397:(Exhibition catalog). London: Whitechapel Gallery.
1318:
Seja marginal, seja herói (Be an Outlaw, Be a Hero)
834:
1966: "Hélio Oiticica." Galeria G4 (Rio de Janeiro)
171:
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21:
2548:"Hélio Oiticica: The Body of Color - Art - Review"
936:2022-2023: "Hélio Oiticica: Penetrável Macaléia."
448:interact with. The most influential of these was
3137:People associated with the University of Sussex
2816:Latin American Artists of the Twentieth Century
1807:Latin American Artists of the Twentieth Century
317:Starting in 1954, Oiticica attended courses at
1628:"Discovering the Brilliance of Hélio Oiticica"
1442:(in Portuguese). Rio de Janeiro: Paz e Terra.
1306:P16 Parangolé cape 12 "From Adversity We Live"
914:2017: "Hélio Oiticica: To Organize Delirium."
319:Museum of Modern Art, Rio de Janeiro
100:Museum of Modern Art, Rio de Janeiro
900:2006–7: "Hélio Oiticica: The Body of Color."
8:
1602:"Cool Heat: An Art Outlaw Who Still Simmers"
220:Spatial Relief (red) REL 036, Tate Liverpool
2322:(in Brazilian Portuguese). 17 October 2009.
2303:(in Brazilian Portuguese). 19 October 2009.
2241:(in Brazilian Portuguese). 17 October 2009.
3011:: CS1 maint: location missing publisher (
2867:Jiménez, Ariel; Herkenhoff, Paulo (2010).
1425:(in Portuguese). S. 2, a. 15 (11): 55–60.
792:2010: "Tropicália. Die 60s in Brasilien."
703:1994: Bienal Brasil Século XX (São Paulo)
600:. In addition to paintings and the famous
262:Oiticica was also a filmmaker and writer.
29:
18:
1476:Vergara, Carlos; Oiticica, Hélio (1978).
1212:Museo Nacional Centro de Arte Reina Sofía
848:Witte de With Center for Contemporary Art
2476:"Hélio Oiticica (2/10/1992 - 8/12/1992)"
1497:(in Portuguese). Rio de Janeiro: Rocco.
1294:B17 Glass Bólide 05 ‘Homage to Mondrian’
443:International recognition and later work
236:; July 26, 1937 – March 22, 1980) was a
1560:
456:movement. He also created works called
3004:
2919:() – Catalog of an exhibition held at
2693:"Hélio Oiticica: To Organize Delirium"
3048:
2982:
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1788:
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1111:
1066:
1033:
625:Oiticica died on March 22, 1980 of a
231:
7:
2609:Pifer, Jenelle (26 September 2016).
2333:Fradkin, Eduardo (17 October 2009).
1393:Oiticica, Hélio; Brett, Guy (1969).
212:Brumadinho - Inhotim, Hélio Oiticica
3202:20th-century Brazilian LGBTQ people
3162:20th-century Brazilian male artists
2630:Heyman, Stephen (29 October 2016).
2252:Valota, Ricardo (17 October 2009).
204:Bólides, Hélio Oiticica (1963-1969)
188:Bólides, Hélio Oiticica (1963-1969)
16:Brazilian visual artist (1937–1980)
3147:Artists from Rio de Janeiro (city)
1626:Schjeldahl, Peter (31 July 2017).
1351:Homage to My Father (Projeto H.O.)
1339:Homage to My Father (Projeto H.O.)
452:(1967) which gave its name to the
309:National Museum of Natural History
14:
2207:Almino, Elisa Wouk (2017-09-06).
2157:Almino, Elisa Wouk (2017-09-06).
2132:Almino, Elisa Wouk (2017-09-06).
2094:Almino, Elisa Wouk (2017-09-06).
2069:Almino, Elisa Wouk (2017-09-06).
2044:Almino, Elisa Wouk (2017-09-06).
2019:Almino, Elisa Wouk (2017-09-06).
852:Galerie nationale du Jeu de Paume
786:2008: Biennale of Sidney (Sidney)
307:while their father worked at the
3152:20th-century Brazilian sculptors
3047:
2981:
2911:
2546:Smith, Roberta (17 March 2007).
2457:
2360:John Simon Guggenheim Foundation
2273:Lima, Flavia (17 October 2009).
1868:
1787:
1686:John Simon Guggenheim Foundation
1600:Cotter, Holland (13 July 2017).
1326:
1257:
1236:
1215:
1110:
1065:
1032:
3157:20th-century Brazilian painters
598:Jardim Botânico, Rio de Janeiro
3167:Brazilian contemporary artists
2997:Oiticica Filho, César (2012).
2698:Whitney Museum of American Art
2671:Waxman, Lori (26 April 2017).
2588:Searle, Adrian (7 June 2007).
2416:(in German). January 28, 2010.
928:Whitney Museum of American Art
1:
940:, curated by Jennifer Inacio.
2789:A invenção de Hélio Oiticica
2657:The Art Institute of Chicago
2209:"Hélio Oiticica in New York"
2159:"Hélio Oiticica in New York"
2134:"Hélio Oiticica in New York"
2096:"Hélio Oiticica in New York"
2071:"Hélio Oiticica in New York"
2046:"Hélio Oiticica in New York"
2021:"Hélio Oiticica in New York"
1363:The afternoon almost evening
1282:Box Bolide 12, 'archeologic'
1254:Museum of Fine Arts, Houston
1195:Spatial Relief (red) REL 036
1107:Museum of Fine Arts, Houston
1029:Museum of Fine Arts, Houston
902:Museum of Fine Arts, Houston
2989:() – Exhibition catalog of
1568:Davis, Ben (11 July 2017).
846:1992–97: "Hélio Oiticica."
649:, Brighton, Resident artist
3223:
3092:Enciclopédia Itaú Cultural
2931:. London: Afterall Books.
2842:Brett, Guy (Autumn 2007).
2343:(in Brazilian Portuguese).
2283:(in Brazilian Portuguese).
2262:(in Brazilian Portuguese).
1495:Aspiro ao grande labirinto
1323:Philadelphia Museum of Art
1102:Vermelho cortando o branco
3182:Brazilian LGBTQ sculptors
2182:Davis, Ben (2017-07-11).
1854:10.1162/grey.2010.1.38.20
1183:Bilateral ‘Teman’ BIL 003
922:(Pittsburgh), curated by
636:Oiticica was openly gay.
233:[ˈεljuɔjtʃiˈsikɐ]
28:
3197:Deaths from hypertension
3177:Brazilian LGBTQ painters
3127:Brazilian male sculptors
1886:Oiticica, Hélio (1969).
1455:Oiticica, Hélio (1974).
916:Art Institute of Chicago
688:Bronx Museum of the Arts
266:Early life and education
3132:Brazilian male painters
2590:"And it was all yellow"
1732:"Hélio Oiticica: 1950s"
1702:"Hélio Oiticica: 1940s"
1652:"Hélio Oiticica: 1930s"
1000:Untitled (Grupo Frente)
556:secure proper funding.
486:Whitechapel Art Gallery
3066:Projeto Hélio Oiticica
2921:Fundação Iberê Camargo
2765:Pérez Art Museum Miami
2741:Pérez Art Museum Miami
2616:Carnegie Museum of Art
2480:Fundació Antoni Tàpies
1736:Projeto Hélio Oiticica
1706:Projeto Hélio Oiticica
1656:Projeto Hélio Oiticica
1387:Works and publications
1380:Pérez Art Museum Miami
1062:Carnegie Museum of Art
938:Pérez Art Museum Miami
920:Carnegie Museum of Art
856:Fundació Antoni Tàpies
419:Manifesto neoconcreto.
221:
213:
205:
197:
189:
3172:Brazilian gay artists
2717:www.galerielelong.com
1440:Arte brasileira hoje
1207:Sem título (Untitled)
654:Guggenheim Fellowship
538:Tropicalismo Movement
488:, London, curated by
379:Neo-Concrete Movement
350:. He was a member of
325:. In 1955, he joined
301:Guggenheim Foundation
270:Oiticica was born in
245:Neo-Concrete Movement
219:
211:
203:
195:
187:
166:Neo-Concrete Movement
35:Hélio Oiticica (1966)
3207:Brazilian anarchists
3082:Museum of Modern Art
2434:(Exhibition catalog)
2122:,19 September, 2023.
1730:Figueiredo, Ariane.
1700:Figueiredo, Ariane.
1650:Figueiredo, Ariane.
1368:Museum of Modern Art
1356:Museum of Modern Art
1344:Museum of Modern Art
1311:Museum of Modern Art
1287:Museum of Modern Art
1233:Museum of Modern Art
1176:Museum of Modern Art
1164:Museum of Modern Art
1095:Museum of Modern Art
1083:Museum of Modern Art
1078:Metaesquema No. 4066
1050:Museum of Modern Art
1017:Museum of Modern Art
1005:Museum of Modern Art
993:Museum of Modern Art
981:Museum of Modern Art
969:Museum of Modern Art
964:Grupo Frente No. 136
957:Museum of Modern Art
801:Parangolé P4 Cape 1,
522:After living in the
497:Museum of Modern Art
2660:. 18 February 2017.
1375:Penetrável Macaléia
1045:Metaesquema No. 348
1012:Metaesquema No. 237
988:Metaesquema No. 179
952:Grupo Frente No. 73
584:Move back to Brazil
3071:2018-12-25 at the
2553:The New York Times
1607:The New York Times
1228:Neoconcrete Relief
904:(Houston, Texas);
796:(Vienna, Austria)
547:Living in New York
385:and sought to use
222:
214:
206:
198:
190:
115:Performance artist
3033:978-1-606-06529-7
2967:978-84-7075-588-0
2938:978-1-846-38096-9
2883:978-85-89680-16-5
2825:978-0-870-70424-6
2798:978-8-531-40065-0
2504:978-8-460-41862-7
2443:978-1-606-06529-7
2385:978-0-914-35764-3
1897:978-0-854-88001-0
1816:978-0-870-70424-6
1773:978-84-7075-588-0
1521:978-8-460-41862-7
1404:978-0-854-88001-0
1270:B11 Box Bólide 09
864:Walker Art Center
666:Group exhibitions
647:Sussex University
534:, where he died.
513:Silviano Santiago
509:Augusto de Campos
505:Haroldo de Campos
391:Amílcar de Castro
321:, studying under
287:lepidopterologist
182:
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126:Years active
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2894:. Archived from
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2844:"Hélio Oiticica"
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829:Solo exhibitions
526:neighborhood of
372:Kazimir Malevich
305:Washington, D.C.
255:like the famous
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88:Other names
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2701:. 14 July 2017.
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2577:. 8 April 2012.
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2535:. 6 June 2007.
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241:visual artist
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178:(grandfather)
177:
176:José Oiticica
174:
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109:Visual artist
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106:Occupation(s)
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78:
68:
64:
60:
56:
51:July 26, 1937
43:
39:
32:
27:
20:
3187:Gay painters
3090:
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2956:
2928:
2903:. Retrieved
2896:the original
2869:
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2788:
2768:. Retrieved
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2716:
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2120:The Guardian
2119:
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2099:
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2074:
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2053:. Retrieved
2049:
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2028:. Retrieved
2024:
2014:
2003:. Retrieved
1999:
1989:
1978:. Retrieved
1974:
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1953:. Retrieved
1949:
1939:
1928:. Retrieved
1924:
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1755:
1744:. Retrieved
1740:the original
1735:
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1710:the original
1705:
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1664:. Retrieved
1660:the original
1655:
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1550:Grupo Frente
1511:
1494:
1477:
1471:Jimi Hendrix
1456:
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800:
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631:hypertension
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569:
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558:
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541:
524:East Village
521:
517:Waly Salomão
494:
470:Josef Albers
463:
457:
454:Tropicalismo
449:
446:
437:
430:
426:
422:
418:
383:Concrete Art
376:
352:Grupo Frente
344:Concrete art
341:
338:Early career
327:Grupo Frente
316:
313:
298:
294:
283:entomologist
280:
269:
256:
253:Penetrables,
252:
248:
224:
223:
138:Metaesquemas
137:
71:(1980-03-22)
3122:1980 deaths
3117:1937 births
2852:Tate Modern
2848:Tate Papers
2532:Tate Modern
2238:Grupo Globo
2188:Artnet News
1575:artnet News
1313:(1965–1992)
1299:Tate Modern
1289:(1964-1965)
1275:Tate Modern
1200:Tate Modern
1188:Tate Modern
1152:Tate Modern
1147:Metaesquema
1140:Tate Modern
1135:Metaesquema
1128:Tate Modern
1123:Metaesquema
1090:Metaesquema
976:Metaesquema
959:(1955-1956)
918:(Chicago);
906:Tate Modern
799:Oiticica's
690:(New York)
661:Exhibitions
610:Parangolés,
602:Parangolés,
562:parangolés,
478:Lygia Clark
403:Lygia Clark
291:philologist
229:Portuguese:
150:Penetrables
3142:Tropicália
3111:Categories
2905:2017-09-03
2770:2023-02-14
2746:2023-02-14
2722:2023-09-27
2218:2022-09-21
2193:2022-09-21
2168:2022-09-21
2143:2022-09-21
2105:2022-09-21
2080:2022-09-21
2055:2022-09-21
2030:2022-09-21
2005:2022-09-22
1980:2022-09-22
1955:2022-09-22
1930:2022-09-22
1746:2017-09-03
1716:2017-09-03
1666:2017-09-03
1556:References
1256:(c. 1960)
1171:Painting 9
930:(New York)
862:(Lisbon);
566:parangolés
458:Parangolés
450:Tropicália
407:Lygia Pape
323:Ivan Serpa
258:Tropicália
249:Parangolés
153:Tropicália
148:Parangolés
144:Inventions
140:Bilaterals
47:1937-07-26
3042:982373712
3007:cite book
2976:707460289
2947:813930842
2892:722764644
2860:1753-9854
2834:735320789
2513:959094859
2452:982373712
2394:606278433
2300:Zero Hora
1848:: 20–37.
1841:Grey Room
1825:735320789
1782:707460289
1530:959094859
1486:948424930
1448:610681196
1431:959182049
908:(London)
854:(Paris);
570:parangolé
490:Guy Brett
368:Paul Klee
360:secondary
238:Brazilian
172:Relatives
129:1954-1980
119:Filmmaker
96:Education
3069:Archived
3053:Wikidata
2987:Wikidata
2917:Wikidata
2807:29791456
2463:Wikidata
1862:57560607
1793:Wikidata
1545:Anti-art
1539:See also
1503:16447855
1465:42269185
1423:Colóquio
1332:Wikidata
1263:Wikidata
1242:Wikidata
1221:Wikidata
1116:Wikidata
1071:Wikidata
1038:Wikidata
474:Brancusi
348:De Stijl
162:Movement
117:Theorist
111:Sculptor
91:Passista
3089:at the
3080:at the
2482:. 1992.
2363:. 1970.
2340:O Globo
2319:O Globo
2280:O Globo
2259:Estadão
1689:. 1947.
1378:at the
1366:at the
1354:at the
1342:at the
1325:(1967)
1309:at the
1285:at the
1235:(1960)
1231:at the
1214:(1959)
1174:at the
1162:at the
1109:(1958)
1093:at the
1081:at the
1064:(1958)
1048:at the
1031:(1957)
1015:at the
1003:at the
991:at the
979:at the
967:at the
955:at the
606:Bólides
356:primary
146:Bólides
113:Painter
3046:
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1994:Tate.
1969:Tate.
1944:Tate.
1919:Tate.
1904:
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1382:(1978)
1370:(1973)
1358:(1972)
1346:(1972)
1301:(1965)
1277:(1964)
1202:(1959)
1190:(1959)
1178:(1959)
1166:(1959)
1154:(1958)
1142:(1958)
1130:(1958)
1097:(1958)
1085:(1958)
1052:(1958)
1019:(1957)
1007:(1957)
995:(1956)
983:(1956)
971:(1956)
926:; and
652:1970:
645:1969:
640:Awards
627:stroke
480:, and
333:Career
285:, and
276:Brazil
121:Writer
81:Brazil
59:Brazil
2899:(PDF)
2874:(PDF)
2637:Vogue
2571:(PDF)
1906:25209
1858:S2CID
1413:25209
777:York)
755:York)
700:York)
134:Works
3102:IMDb
3038:OCLC
3028:ISBN
3013:link
2972:OCLC
2962:ISBN
2943:OCLC
2933:ISBN
2888:OCLC
2878:ISBN
2856:ISSN
2830:OCLC
2820:ISBN
2803:OCLC
2793:ISBN
2509:OCLC
2499:ISBN
2448:OCLC
2438:ISBN
2390:OCLC
2380:ISBN
2000:Tate
1975:Tate
1950:Tate
1925:Tate
1902:OCLC
1892:ISBN
1821:OCLC
1811:ISBN
1778:OCLC
1768:ISBN
1526:OCLC
1516:ISBN
1499:OCLC
1482:OCLC
1461:OCLC
1444:OCLC
1427:OCLC
1409:OCLC
1399:ISBN
608:and
592:Fire
515:and
370:and
358:and
346:and
251:and
156:Eden
66:Died
41:Born
3100:at
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