{"id":4952,"date":"2014-09-08T16:15:50","date_gmt":"2014-09-08T16:15:50","guid":{"rendered":"https:\/\/bonnierskonsthall.se\/?post_type=bonnier_exhibition&p=4952"},"modified":"2026-03-07T17:09:07","modified_gmt":"2026-03-07T16:09:07","slug":"experiences","status":"publish","type":"bonnier_exhibition","link":"https:\/\/bonnierskonsthall.se\/en\/utstallning\/experiences\/","title":{"rendered":"Experiences of Brazilian Art and Film from the 1960s and 70s"},"content":{"rendered":"\n
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Experiences of Brazilian Art and Film from the 1960s and 70s<\/h2>\n\n\n

10 sep \u2192 23 nov 2014<\/p>\n\n<\/div>\n<\/div><\/div>\n<\/div>\n\n\n\n

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Participating Artists:<\/b> Ivan Cardoso C\u00e9sar, Oiticica Filho, H\u00e9lio Oiticica, Neville D\u2019Almeida, Marcelo Machado, L\u00e9ticia Parente, Glauber Rocha, Guilherme Coelho, Lygia Clarks, Jos\u00e9 Celso Martinez Corr\u00eaa, Teatro Oficina\u2013Uzyna Uzona Company, Rogerio Sganzerla, Rogerio Sganzerla, Joaquim Pedro De Andrade<\/p>\n\n\n<\/div>\n\n\n\n

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The 1960s indicated the start of an enormously active artistic period in Brazil, encompassing not only the visual arts but also film, music, poetry and design. This merging of fine art and popular culture was quickly termed Tropic\u00e1lia after H\u00e9lio Oiticica\u2019s first immersive installation in 1967. Oiticica\u00b4s installation already contained audiovisual material and film soon became a space where artists and filmmakers would form a Brazilian avant-garde. Alongside the groundbreaking artists Lygia Pape and Lygia Clark, H\u00e9lio Oiticica developed methods of creating art that abolished the distance between the art object and spectator. Focusing on the individual and collective body they developed methods and processes to achieve sensory perceptions and a sense of total art.<\/p>\n

The time period framing the exhibition was one of military dictatorship, where physical and mental torture was an everyday occurrence. The regime\u2019s physical violations affected artists\u2019 work in both a purely concrete manner (many were eventually forced to go into exile), as well as thematically. In the exhibition we see how the artists used masquerade and the carnivalesque as ways to dress their political views in humor and light-heartedness. The ideas expressed in poet Oswald de Andrade\u2019s Manifesto Antropof\u00e1gico<\/em> from 1928, in which a \u201ccultural cannibalism\u201d was advocated and from which the entire Modern Art movement in Brazil was triggered, can be sensed as an underlying tone in the films.<\/p>\n

The films in Experiences<\/em> are displayed as a collage of moving images through which the visitor may move. The viewer\u2019s past and present experiences were crucial to artists such as H\u00e9lio Oiticica, and along with his work, the exhibition aims to create an overall visual experience, as well as allowing the visitor to delve deeper into each individual piece.<\/p>\n

\"Ivan
Ivan Cardoso, “H.O”, 1979. 13 min. Film still.<\/figcaption><\/figure>\n

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

Experiences of Brazilian Art and Film from the 1960s and 70s<\/h2>\n<\/div>\n\n\n\n
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