Hélio Oiticica: To Organize Delirium

Solo en Inglès

B16 Box Bólide 12, Archaeological (B16 Bólide caixa 12, Arqueológico), 1964–65. Synthetic polymer paint with earth on wood structure, nylon net, corrugated cardboard, mirror, glass, rocks, earth, and fluorescent lamp, 14 1/2 x 51 5/8 x 20 1/2 in. (37 x 131.2 x 52.1 cm). The Museum of Modern Art, New York; gift of Patricia Phelps de Cisneros in honor of Paulo Herkenhoff. © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

Narrator: Oiticica called sculptures like this one Bólides—fireballs. Some of these table-top sculptures have parts that viewers could originally move. Others contained tactile materials such as sand or pigments. 

Elisabeth Sussman: The boxes are intimate.

Narrator: Elisabeth Sussman is Sondra Gilman Curator of Photography, and one of the curators of this exhibition.

Elisabeth Sussman: They're very relational. He had this ideal sense of what a work of art could or should be and that involved touching and investigation.

Narrator: This one invites us to enter it imaginatively, as well.

Elisabeth Sussman: You look into it and it looks like, from the outside, like a little pavilion, like a little house, model of a house. You look inside and there's a mirror and then the end of it is open and has gauze, and it looks like a sleeping porch end of it. You can project onto it whatever you want, but it does seem to be about some kind of ideal dwelling.

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