Since the late nineties, the work of Regina José Galindo has been characterized for denouncing different forms of oppression and violence in contemporary society. One recurring theme in her artistic career has been the migratory mobilizations and displacement of Central Americans as a result of the civil wars that took place in Guatemala and other countries of the region in the 1970s.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. The third and final section of this essay connects the sculptural nature of Clark’s paintings and the human body’s activation in her later works.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. Part two of this essay positions Clark’s paintings as architectural explorations and living organisms.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. Part one of this essay examines Clark’s early works as form-based and the underlying performative aspects of their construction.
Experimenting with ideas of disruption, participation, community, and institutional critique, Argentine artist Marta Minujín blindfolded and “kidnapped” fifteen audience members as part of Kidnappening.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
Artist Maris Bustamante reminisces about the importance Juan Acha’s ideas had for her and a generation of young artists.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
From action painting to free-form music concerts, East German performance art establishes itself in the GDR’s final decade.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
