Lygia Clark, Rubber Grub, 1964 (1986), rubber, 56 in.H Museo de Arte Moderna do Rio de Janeiro
Lygia Clark, Mandala, from the series, Collective Body, 1959, Elastic bands linking people at their writsts or ankles
Lygia Clark, Air & Stone (Multiple) 1966, inflated plastic bag and stone
(left) Lygia Clark, (top) Mask with Mirrors, 1967; (below) Dialogue, 1968 The mask holds small movable mirrors in front of the eyes, juxtaposing and fracturing reflections of the self and the surrounding world. (right) Clark, Sensorial Gloves, 1968. Part of Nostalgia of the Body series. Gloves are made of various materials, sizes and textures. Participants use the many combinations of gloves and balls of different sizes, textures and weights, and then hold the balls again with bare hands. Purpose is to rediscover touch.
Lygia Clark, Individual Therapy with Relational Objects, Rio de Janeiro, 1975
Lygia Clark and Helio Oiticica, Dialogue for Hands, 1966 elastic Möbius band Elastic Möbius band “Helio and I are like a glove. He is the outside of the glove, very much linked to the exterior world. I am the inside. And the two of us exist from the moment there is a hand which puts on the glove” Clark http://www.cut-the-knot.org/do_you_know/moebius.avi http://www.cut-the-knot.org/do_you_know/moebius.avi
(left) Hélio Oiticica (Brazil, 1937-1980), White Crossing Red – Metaschema 1958, oil, 21 in. H; compare Piet Mondrian, Tableau, 1921, Neoplasticism
Helio Oiticica, Glass BolidePortuguese word for fireball or flaming meteor 4 Earth, 1964, Glass, earth, and painted gauze
Helio Oiticica, Box Bolide, 1964, painted wood and glass, 20 in H, Rio de Janeiro
Hélio Oiticica, Tropicalia, 1967, an installation originally exhibited in the New Brazilian Objectivity exhibition at the Museu de Arte Moderna in Rio de Janeiro. Origin of Tropicália (orTropicalismo), the Brazilian art movement in theater, poetry, music, and visual art.
Hélio Oiticica. Tropicália, 1967. Mixed media. Purchased with the assistance of the American Fund for the Tate Gallery, the Latin American Acquisitions Committee, Tate Members, and The Art Fund, 2007.
Hélio Oiticica outside The Whitechapel Art Gallery, London, 1969
Helio Oiticica, Nildo, of the Mangueira samba group, wearing Parangolés, 1964
This entire experience into which art flows, the issue of liberty itself, of the expansion of the individual's consciousness, of the return to myth, the rediscovery of rhythm, dance, the body, the senses, which finally are what we have as weapons of direct, perceptual, participatory knowledge... is revolutionary in the total sense of behavior. (Oiticica)
Hélio Oiticica, Mosquito of Mangueira wearing Cape 6 (Paragole 10), 1965, and dancing with Glass Bolide 5 (Homage to Mondrian), 1964