Propose to Propose Participatory Strategies in Hélio Oiticica
Name: MARCIA CAROLINA RUBIM SIQUEIRA
Publication date: 05/09/2018
Advisor:
Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Advisor * |
| APARECIDO JOSE CIRILO | Internal Examiner * |
| CLAUDIA MARIA FRANÇA DA SILVA | External Examiner * |
Summary: In the 1960s, Hélio Oiticica, and other artists, theorizes and proposes artistic practices aimed at the participation of the spectator in the creative process of his experimental propositions. The artist's writings from this period on show that there was political intentionality in his environmental program of expanding art into everyday life, through propositions increasingly open to the total participation of the spectator, focused on human behavior, deconditioning, and opposition to artistic, social, political, and ethical conformity. In Oiticica's constant search for the intensification of spectator participation and freedom in the full sense, it is possible to perceive that the artist develops strategies that may be relevant to resistance to structures of ideological control, alienation and oppression in art and life, and to the development of reflections favorable to the engagement and emancipation of artists and participants, who like Oiticica, want the active participation of art in the questions of their time-space. Thus, this research identifies and discusses participative strategies in contemporary art, extracted from the analysis of reference texts and propositions brought by the artist-proposer Hélio Oiticica in the 1960s, and from studies developed by the essayist, art critic and curator Nicolas Bourriaud in the decade of 1990, in the field of Relational Aesthetics, necessary for the deepening and greater understanding of relational, procedural and behavioral propositions.
Keywords: Hélio Oiticica; Participation of the Spectator; Contemporary art; Relational Aesthetics;
