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Up and coming Brazilian artists making relevant questions and bringing different perpectives to problems that are very globalised these days. And affordable to you.

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Hélio Oiticica

Hélio Oiticica

Hélio Oiticica, Parangolé P4 Cape 1, 1964. Photo Sergio Zalis

Hélio Oiticica, Parangolé P4 Cape 1, 1964. Photo Sergio Zalis

Anarchism since its inception has several associations with the arts. Libertarian thought does not always presuppose a particular artistic style, but rather it is part of an explicit desire for maximum liberation of human beings and it is directly related to its power of expression, creativity and imagination.

Often anarchist art is linked to the arts of the European vanguard, which has a critical and libertarian character - in painting and music - experimentalism, noise, concrete, among others - or in other artistic activities.

Dadaism and anti-art are often linked to anarchy.

All other aspects, such as surrealism and its alternative conception of reality, or expressionism, representing, for example, poverty and the anguishes of less privileged classes, have also been widely used.

In Brazil, Carlos Drummond de Andrade quotes and even comes to characterize himself as an anarchist as a young man in books such as A Rosa do Povo. Several early stage artists of modernism even flirted with anarchy in general

Hélio Oititica, considered the great name of the transition from modern to contemporary Brazilian art, had in his arts - painting, sculpture and performance - strong anarchist aspirations while leading the spectator to the experimental exercise of freedom, proposing a transcendence of contemplation to the contagion of behavior, within an ethical, social and political dimension.

It is a consensus that Oititica was one of the artists responsible for a revolution in Brazilian art. Revered internationally, he left behind a difficult work, or even impossible to be measured in number and such a profusion of ideas, projects, photographs, films, speeches and notes – a production that invites us to participate as a living artwork.

Hélio Oiticica became a reference in the world. Visionary, from the earliest creations in the 1950s and 1960s, worked to replace the word "spectator" with "participant."

It did not separate art from life, but radicalized in experiences of merging the two strands. This was his way of saying that art needed urgent change in order to be understood and experienced.

His art surpassed Latin American frontiers through the English art critic Guy Brett, a great enthusiast of the production of experimental character, who had as basis of his curacy criteria of coexistence with the artists and their works. Brett, by the way, was one of the most responsible in the dissemination of the Latin American artists in Europe during the decade of 60.

The set of his work is essential to count the production and development of Brazilian art in the twentieth century.

Currently, some of his work is on the show "Guy Brett - critical proximity" in Rio de Janeiro, under the curatorship of Paulo Venâncio Filho.

Hélio Oiticica  Tropicália, Penetrables PN 2 'Purity is a myth' and PN 3 'Imagetical'  1966-7© Tate Photography Tate 2016

Hélio Oiticica Tropicália, Penetrables PN 2 'Purity is a myth' and PN 3 'Imagetical' 1966-7© Tate Photography Tate 2016

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