| > Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future. The work of both has been shown in Europe during Documenta X in 1997 and more recently under the title ‘Tropicalia‘ – the name of the 1960s the brasilian art movement. Just recently I came across some texts and a website written and published by Suley Rolnik, whose texts provide a profound insight into the work of the artist by |
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looking at the trans-generational relations between the ably andonment of the museum space by the artist Lygia Clark, and more generally connecting her work to the fluid inside/outside movement now practiced by politically oriented artists in Brazil. (see on multitudes)
The following is a short excerpt from S.Rolnik’s interpretation of L.Clark’s work and it is worth to follow this link to explore the whole essay:
… Without divorcing itself from aesthetic preoccupations, Clark’s project clearly attempts to escape from the limits of art. It remains a singular phenomenon in that through one and the same movement, it pretends to leave behind both representative language and the institution of art, which seems to be so close to the market in the modern episteme …
… [This] Her therapy did not promote the establishment of rational, adaptive, or behavioral patterns; what it healed in this case was not at all the verbalization of some original trauma, but rather a programmed encounter with the non-identical: the placeless place of a body whose limits are those of the world…..
