{"id":33666,"date":"2025-11-17T17:16:07","date_gmt":"2025-11-17T16:16:07","guid":{"rendered":"https:\/\/bonnierskonsthall.se\/?post_type=bonnier_exhibition&p=33666"},"modified":"2026-03-07T17:09:12","modified_gmt":"2026-03-07T16:09:12","slug":"experiences-films-and-images-in-the-exhibition","status":"publish","type":"bonnier_exhibition","link":"https:\/\/bonnierskonsthall.se\/en\/utstallning\/experiences\/experiences-films-and-images-in-the-exhibition\/","title":{"rendered":"Experiences – Films and images in the exhibition."},"content":{"rendered":"\n
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Experiences – Films and images in the exhibition.<\/h2>\n\n\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n
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1.<\/strong> HO,<\/strong> <\/em>Ivan Cardoso, 1979. 13 min<\/h4>\n

In his Parangol\u00e9s<\/em> series (1964\u201379) Oiticica reached a crucial stage in his investigation of the embodiment of colour. Parangol\u00e9s*<\/em> are capes or habitable paintings that were designed to be worn while dancing to the rhythms of samba. HO is constructed like a collage where the director Ivan Cardoso presents original footage of Oiticica working with the Parangol\u00e9s<\/em> in the 1960s. Some of the most important members of the Brazilian avantgarde appear in the film, including singer Caetano Veloso and artist Lygia Clark. Also included are some of Oiticica\u2019s friends from the Mangueira shanty town, whose participation influenced Oiticica in his work.<\/p>\n

* Parangol\u00e9<\/em><\/strong> is a slang term meaning an animated situation and sudden confusion and\/or agitation between people.<\/p>\n

2.<\/strong> H\u00e9lio Oiticica,<\/strong><\/em> C\u00e9sar Oiticica Filho, 2012. 94 min<\/h4>\n

C\u00e9sar Oiticica Filho, the nephew of H\u00e9lio Oiticica, combines expert research with his special access to his uncle\u2019s films and documentation of artworks. This dynamic film immerses the viewer in the universe of H\u00e9lio Oiticica through works like his B\u00f3lides, Penetr\u00e1veis, N\u00facleos <\/em>and Parangol\u00e9s.<\/em> The \u201cHeliotapes\u201d \u2013 sound recordings of Oiticica\u2019s ideas and thoughts \u2013 make up the documentary\u2019s soundtrack.<\/p>\n

3. H\u00e9lio Oiticica, Parangol\u00e9,<\/em><\/strong> 1979. Photo: Andreas Valentin.<\/h4>\n

4. H\u00e9lio Oiticica, Tropic\u00e1lia, PN2 and PN3,<\/em><\/strong> 1967 at Centro de Arte H\u00e9lio Oiticica, 1996. Photo: C\u00e9sar Oiticica Filho.<\/h4>\n

H\u00e9lio Oiticica (1937\u20131980) is an internationally renowned Brazilian artist whose work has influenced many contemporary artists working today. Oiticica used the traditional conception of the artwork (going via concretism and neo-concretism) to generate renewal and experimentation. He made the viewer an intrinsic part of the art experience and was a true innovator of interactive and experiential artworks. H\u00e9lio Oiticica was an artist, writer, and a driving force in the formation of the Brazilian avant-garde of the 1960s. His own lived experiences (viv\u00eancias) were an emotive part of his works and the merging of art and life was crucial for his installations and sculptures. The architecture and his involvement with the people living in Rio de Janeiro\u2019s favelas (shanty towns) greatly inf luenced his environmental installation Tropic\u00e1lia<\/em> (1967) and wearable Parangol\u00e9s.<\/em><\/p>\n

5. H\u00e9lio Oiticica & Neville D\u2019Almeida, Cosmococa CC1 \u2013 CC5 Trashscapes,<\/em><\/strong> 1973, S\u00e3o Paulo, 2003. Foto: C\u00e9sar Oiticica Filho.<\/h4>\n

When H\u00e9lio Oiticica lived in New York in the early 1970s, he created a series of innovative room installations with filmmaker Neville D\u2019Almeida. These multi-sensory experiences constructed out of slide projections, hammocks, mattresses, and music encompassed the viewer. Oiticica referred to the installations as \u201cquasi-cinemas\u201d and are examples of the embodiment of Oiticica\u2019s efforts to integrate the viewer into the artwork. Oiticica and D\u2019Almeida conceived five pieces in the series entitled Block-Experiments in Cosmococa. Each Cosmococa involved an individual print and included images of famous personalities, such as Jimi Hendrix, John Cage, Marilyn Monroe and Yoko Ono, and entailed drawings made out of cocaine. To Oiticica, cocaine was a symbol of rebellion and the alternative community.<\/p>\n

6.<\/strong> Tropic\u00e1lia,<\/strong> <\/em>Marcelo Machado, 2012. 87 min.<\/h4>\n

This documentary revisits Tropicalismo, a powerful force in Brazilian culture in the late 1960s. Through rare footage of Brazilian music legends Caetano Veloso, Gilberto Gil, Os Mutantes, Gal Costa and Tom Z\u00e9, director Marcelo Machado tells the story of a period that combined fine arts and popular culture. Today Tropicalismo is most immediately associated with popular music. Tropic\u00e1lia was also the title of one of the most celebrated albums in Brazilian music history, featuring Caetano Veloso and others.<\/p>\n

7. Preparation I<\/em><\/strong>, L\u00e9ticia Parente, 1975. 3.30 min;
\nPreparation II<\/em>,<\/em><\/strong> L\u00e9ticia Parente, 1976. 7.40 min
\nTrademark,<\/strong><\/em> L\u00e9ticia Parente, 1975. 9 min.<\/h4>\n

Let\u00edcia Parente was one of the pioneers in experimental video art in Brazil. Due to the technology available at the time, her early video experiments consisted of a fixed camera and her body as instruments of artistic investigation. In the three videos exhibited at Bonniers Konsthall, Let\u00edcia Parente took her body to extremes. In Preparation I the artist veils her face with adhesive plaster in order to make herself up to face a patriarchal society; Preparations II consists of Parente giving herself four injections and filling out a vaccination card before leaving the country. The vaccines are entitled \u201canti-cultural colonialism\u201d, \u201canti-racism\u201d, \u201canti-political mystification\u201d and \u201canti-art mythification\u201d. Trademark involves the artist sewing the words \u201cMade in Brazil\u201d into the sole of her foot.<\/p>\n

8.<\/strong> Terra em transe,<\/strong><\/em> Glauber Rocha, 1967. 111 minuter.<\/h4>\n

Glauber Rocha, one of the predecessors of Cinema Novo* (New Cinema), presents a poetic masterpiece about the political trance into which Latin America entered under the military regimes of the mid-1900s, which were backed by the US\u2019s interest in economic expansion. The absurdity of a bipolar geopolitics during the Cold War, which justified violent investments all over the Capitalist\/Communist world, in particular the dictatorship in Brazil, is enacted in the fictional Eldorado Republic.<\/p>\n

*Cinema Novo<\/strong> A genre and movement of film inspired by Italian Neorealism and French Nouvelle Vague, as well as the cinema branch of Tropicalismo. Cinema Novo first appeared in the late 1950s as a reaction to the cultural alienations being produced by mainstream cinema at the time. Filmmakers took an intellectual approach to the social reality surrounding them. Glauber Rocha\u2019s maxim \u201ca camera in the hands and ideas in the head\u201d illustrates the cinematographic language of Cinema Novo.<\/p>\n

9.<\/strong> Um domingo con Frederico Morais,<\/strong> <\/em>Guilherme Coelho, 2011. 60 min.<\/h4>\n

This documentary tells the story of Brazilian curator and art critic Frederico Morais, who created \u201cSundays of Creation\u201d, a notorious series of events held at Rio de Janeiro\u2019s Museum of Modern Art between January and July 1971. The events took place on six Sundays, and Morais dedicated each Sunday to a certain material, such as paper or fabric. The general public was invited to interact and work with the material along with artists, who set the process in motion. The aim of the events was to achieve \u201ccreativity for one and all\u201d. This documentary also includes interviews with artists such as Cildo Meireles, who discusses the relationship between artists and critics.<\/p>\n

10.<\/strong> Archive for a Work-Event: Activating the Body\u2019s Memory of Lygia Clark\u2019s Poetics and its Context,<\/strong><\/em> Suely Rolnik, 2002\u20132010. Series of 64 interviews with Lygia Clark\u2019s students and friends.<\/h4>\n

The work of Lygia Clark is currently recognized as one of the founding expressions of contemporary art in Brazil, and plays an important role on the international scene. Her artistic trajectory occupies a singular position in the critical movement that shook the international art world in the 1960s and 70s. Clark\u2019s artistic research unfolds from the formalist object in the late 1940s to a more therapeutic relation between the object and the body, which the artist claimed to have surpassed in the field of art, calling it a Relational Object. Lygia Clark held therapeutic sessions in her studio in Paris with art historians Guy Brett, Yves Alan Bois and Thierry Davila, poets and composer Caetano Veloso and Jards Macal\u00e9, filmmakers Ga\u00eblle and Claude, to name a few. Renowned Brazilian psychoanalyst and curator Suely Rolnik interviewed Lygia Clark\u2019s \u201cpatients\u201d, 5 of which will be shown at Bonniers Konsthall.<\/p>\n

11. O Rei da Vela,<\/em><\/strong> Jos\u00e9 Celso Martinez Corr\u00eaa, 1982. 160 min.<\/h4>\n

O Rei da Vela<\/em> is a play written in 1933 by Oswald de Andrade. It wasn\u2019t published until 1937 due to its aggressive, visceral depiction of the 1929 world financial crisis. The plot develops around figures of the rural elite and bourgeoisie, painting them as ridiculously deviant, involved in corrupt financial and political systems, exploitative, amoral and sexually disturbed. The play was first staged in 1967 by Jos\u00e9 Celso Martinez Corr\u00eaa as a Tropicalismo theatrical manifestation. The film depicts Celso\u2019s stage interpretation.<\/p>\n

12.<\/strong> Macumba Antrop\u00f3faga,<\/strong> <\/em>Teatro Oficina\u2013Uzyna Uzona Company, 2012. Approx. 5 hours.<\/h4>\n

Macumba Antrop\u00f3faga is a theatrical interpretation of the seminal “Cannibal Manifesto” written by poet Oswald de Andrade in 1928. The five-hour play pays homage to the poet who put into words what came to found the Modern movement in the arts in Brazil: a \u201ccultural cannibalism\u201d. Brazilian had just recently been a colony, and in the 1920s local artists longed to turn \u201cthe other\u201d into something \u201cours\u201d. Jos\u00e9 Celso Martinez Correa, the founder of Teatro Oficina-Uzyna Uzona, met Oswald de Andrade. \u201cWe drank milk from the same goat,\u201d said Celso. The play is a ritual (macumba) that revisits this historical period and provides an overview of contemporary anthropophagic manifestations in our globalized world.<\/p>\n

13.<\/strong> O Bandido da luz vermelha,<\/strong> <\/em>Rogerio Sganzerla, 1968. 92 min<\/h4>\n

\u201cMy film is a western about the Third World. It is this, and a fusion and mix of various genres since\u2026 I made a film-summa. \u2026 I squeezed sincerity out of the documentary (Rossellini), violence out of the police film (Fuller), anarchic rhythm out of the comedy (Sennett, Keaton), and brutal narrative simplification out of the western (Hawks). I wanted to make a magic and twisted film, where the characters were sublime and stupid.\u201d Rog\u00e9rio Sganzerla\u2019s words are about his film loosely based on the life of Jo\u00e3o Ac\u00e1cio Pereira da Costa, the Red Lantern Criminal, known for his numerous offenses. The plot is the least important factor here. At the age of 22, Sganzerla directed a film which did not follow the traditional construction of film narrative, instead involving a rich web of critical references, where society and cinema are intertwined and presented to the spectator with powerful virtuosi.<\/p>\n

14. Copacabana mon amour,<\/em><\/strong> Rogerio Sganzerla, 1970. 85 min.<\/h4>\n

In Rogerio Sganzerla\u2019s unique cinematographic language, Copacabana mon amour<\/em> is an aesthetically stunning ode to Rio de Janeiro, divided into beauty (the rich Copacabana inhabitants, the remarkable landscape) and horror (the favela, prostitution, addiction).<\/p>\n

15. Macuna\u00edma,<\/em><\/strong> Joaquim Pedro de Andrade 1969. 108 min.<\/h4>\n

This film is based on the 1928 novel by Mario de Andrade, which was one of the first Modernist novels written as a rhapsody. In a formal sense, the novel resembles The Iliad<\/em> and The Odyssey,<\/em> except for the fact that although Macuna\u00edma, the hero, possesses remarkable abilities, he is an anti-hero, lazy and without character. The novel follows Macuna\u00edma to the city and then back to the forest where he
\nwas born. In the city, he encounters industrialization and urban culture, where he constantly states, \u201cai, que pregui\u00e7a\u201d, which is a pun in both Tupi and Portuguese, as \u201cAique\u201d is a Tupi word for sloth and \u201cpregui\u00e7a\u201d is Portuguese for sloth. This is an example of how Andrade used a fused language to write this novel, which is one of the most important examples of Brazilian literature.<\/p>\n\n\n<\/div>\n\n\n<\/div>\n\n\n\n

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Utst\u00e4llning<\/p>\n\n\n\n