Hélio Oiticica: To Organize Delirium Audio Guide Playlist
Narrator: These slides show Oiticica’s Parangolés, capes that he thought of as being a kind of wearable sculpture. Elisabeth Sussman.
Elisabeth Sussman: They become what the wearer wants them to be. They have something do with dancing. The whole idea of movement and movement with a costume became a very Dionysian thing for him. And so the Parangolés ideally had this ability to transform just an ordinary person wearing ordinary clothing into a participant and something of their own imagination.
Narrator: Oiticica started making the Parangolés after spending time at the famous samba school in the Mangueira favela. Some of the images you’ll see here come from August of 1965, when he led a parade of dancers from Mangueira to Rio’s Museum of Modern Art. They were turned away, and paraded through the gardens instead. The confrontation shifted Oiticica’s attitude towards formal art institutions. In the years that followed, he began to look for different ways to get his art into the world. If you’d like to hear more about this event—and what it says about Oiticica’s approach—please tap to continue.
Hélio Oiticica, P15 Parangolé Cape 11, I Embody Revolt (P15 Parangolé Capa 12, Eu Incorporo a Revolta) worn by Nildo of Mangueira, 1967. Courtesy of César and Claudio Oiticica, Rio de Janeiro. © César and Claudio Oiticica. Photograph by Claudio Oiticica
- 500 Hélio Oiticica, Introduction
- 501 Hélio Oiticica, Metaesquema
- 502 Hélio Oiticica, P58 Spatial Relief, Red (P58 Relevo espacial, vermêlho), 1960
- 503 Hélio Oiticica, NC6 Medium Nucleus 3 (NC6 Núcleo médio 3), 1961–63
- 504 Hélio Oiticica, B16 Box Bólide 12, Archaeological (B16 Bólide caixa 12, Arqueológico), 1964-65
- 505 Hélio Oiticica, B33 Box Bólide 18, Homage to Cara de Cavalo (B33 Bólide caixa 18, Homenagem à Cara de Cavalo), 1965-66
- 505-2 Hélio Oiticica, B33 Box Bólide 18, Homage to Cara de Cavalo (B33 Bólide caixa 18, Homenagem à Cara de Cavalo), 1965-66
- 506 Hélio Oiticica, Seja marginal, seja herói (Be an outlaw, be a hero), 1968
- 507 Hélio Oiticica, Tropicália, 1966-67
- 508 Hélio Oiticica, Eden, 1969
- 509 Hélio Oiticica, Rio Parangolés
- 509-2 Hélio Oiticica, Rio Parangolés
- 510 Hélio Oiticica, Babylonests, 1971
- 511 Hélio Oiticica, Topázion-Flor for Haroldo de Campos, 1975
- 512 Hélio Oiticica, Cosmococa
- 513 Hélio Oiticica, PN27 Penetrable, Rijanviera, 1979
- 514 Hélio Oiticica, Manhattan Brutalista (Brutalist Manhattan), 1978