A materialidade e o adverso nos Bólides de Hélio Oiticica

• Autor(a) principal: Hermann, Carla Guimarães
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/7491
• topic: Materiality; Adverse; Oiticica, Hélio, 1937-1980. O Éden; Arte conceitual Brasil; Instalações (Arte) Brasil; Arte interativa - Brasil; Adversidade na arte; Artes plásticas Materiais; Bólides; Materialidade; Adverso; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::ARTES PLASTICAS

The research investigates the adversity that is created through the rough and crude materiality of Hélio Oiticica s bólides series. The role played by the materiality becomes evident with the perception that such objects are invitations to what we call adverse participation . These are curious and manipulative objects, but at the same time, they propose the spectator to touch non-smooth and coarse substances and surfaces, such as pieces of badly painted plywood, wire mesh, shells and pigment. The discovery of these sensations opposed to the sensorial pleasure suggested not only that the materiality was the core of the adversity creation but also that the use of disposed objects from everyday was the way Oiticica found to structure his notion of adversity of life and of art. To understand how everyday objects could form adversity, we made the approximation between the adverse and the abject (KRAUSS, 2000) and employed the concept of the informe as the operational element of the work of art (YVE-ALAIN BOIS, 2000). The rough materiality was also seen as the creator of moment temporalities for the bólides and for those who wanted to manipulate them, and also as the organizer of the friction between these objects and the space and culture, being hold responsible for the debasement of the spectator