Mapping Tropicália

Dunn, Christopher

doi:10.1057/9781137375230_3

Cited by 1 publication

(1 citation statement)

References 6 publications

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“…Our arguments against the defensive attitudes of the nationalists found here a succinct and exhaustive formulation.' 29 In Brazilian cultural politics of the 1960s, anthropophagy was associated with a progressive transnationalism (although globalized commercialism has subsequently given rise to a regressive version, which Suely Rolnik terms 'zombie anthropophagy' 30 ). After the authoritarian dictatorship sent many artists into exile, anthropophagy and intermediality became associated with displaced articulations of identity, as Samuel Paiva explains:…”

Section: Along With the Vortex Concerts And The Multi-channel Experimmentioning

confidence: 99%

Devouring images: Hélio Oiticica’s anthropophagic quasi-cinema

Butler¹

2019

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In the early 1970s, while living in self-imposed exile in New York, the Brazilian artist Hélio Oiticica embarked on a new phase in his artistic production, which he described as 'quasi-cinema.' 1 Central to this body of work were the Block-Experiments in Cosmococa -program in progress/Blocos-Experiências em Cosmococa, installations based on slideshows devised with his compatriot, the filmmaker Neville D'Almeida. The title 'Cosmococa', combining cosmos and cocaine, refers to Oiticica's interest in 'organized delirium', as the poet Haroldo de Campos put it, and his preferred recreational means for achieving this.Culturally, cocaine linked the indigenous traditions of South America with the marginal sub-cultures of the modern city; in the early 1970s, with Nixon's war on drugs just beginning, it was also relatively cheap and had not yet become either the yuppie drug of choice or the focus of organized crime; its health risks were also not yet well understood. 2 In the installations, cocaine is used as a drawing medium, to make 'lines' on images appropriated from Oiticica's new surroundings: record sleeves and book covers bearing the faces or names of Jimi Hendrix, Marilyn Monroe, John Cage and Yoko Ono, key figures in the media culture of the national context to which the two Brazilians had relocated. Oiticica describes this use of unoriginal images as 'DUCHAMPIAN sarcasm.' 3 More liminal than counter-cultural, the Cosmococas were devised in secret and not shown in public until 1992, twelve years after Oiticica's untimely death. 4 As interest in Oiticica has grown, they have been incorporated into the repertoire of contemporary art museums, appearing with increasing frequency as part of solo retrospectives and group shows. Their presentation in these contexts as

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Section: Along With the Vortex Concerts And The Multi-channel Experimmentioning

confidence: 99%

Devouring images: Hélio Oiticica’s anthropophagic quasi-cinema

Butler¹

2019

Screen

View full text Add to dashboard Cite

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Mapping Tropicália

Cited by 1 publication

References 6 publications

Devouring images: Hélio Oiticica’s anthropophagic quasi-cinema

Devouring images: Hélio Oiticica’s anthropophagic quasi-cinema

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