Hélio Oiticica: To Organize Delirium | Art & Artists

Exhibition works

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  Hélio Oiticica, Metaesquema 362, 1958. Gouache on paper, 19 1/2 x 26 1/4 in. (49.53 x 66.67 cm). Carnegie Museum of Art, Pittsburgh; Edward N. Haskell Family Acquisition Fund and A. W. Mellon Acquisition Endowment Fund

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  Hélio Oiticica, Metaesquema, Malekledrian, 1958. Gouache on cardboard, 9 3/4 x 6 1/4 in. (24.76 x 15.88 cm). The Ortiz Family. Photograph by Joseph Hu

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  Hélio Oiticica, Metaesquema 4066, 1958. Gouache on cardboard, 21 x 22 7/8 in. (53.3 x 58.1 cm). Museum of Modern Art, New York; Gift of the Oiticica family. © The Museum of Modern Art/Licensed by SCALA / Art Resource, NY

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  Hélio Oiticica, P58 Spatial Relief, Red (P58 Relevo espacial, vermêlho), 1960. Polyvinyl acetate resin on plywood, 24 5/8 x 58 1/4 x 6 in. (62.50 x 148 x 15.30 cm). Tate, London; purchase with assistance from the American Fund for the Tate Gallery, Tate Members, Tate International Council and the Art Fund, 2008. © Tate, London 

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  Hélio Oiticica, B11 Box Bólide 9 (B11 Bólide caixa 9) at Rua Engenheiro Alfredo Duarte, Rio de Janeiro , 1964. Oil with polyvinyl acetate emulsion on wood and glass, pigment, 19 5/8 x 19 11/16 x 13 3/8 in. (49.8 x 50 x 34 cm). Tate, London; purchased with assistance from the American Fund for the Tate Gallery, Tate Members and the Art Fund, 1970. Photograph by Desdémone Bardin 

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  Hélio Oiticica, P15 Parangolé Cape 11, I Embody Revolt (P15 Parangolé Capa 12, Eu Incorporo a Revolta) worn by Nildo of Mangueira, 1967. © César and Claudio Oiticica. Courtesy César and Claudio Oiticica, Rio de Janeiro. Photograph by Claudio Oiticica

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  Hélio Oiticica, Eden, 1969 (installation view, Whitechapel Gallery, London, 1969). Sand, crushed bricks, dry leaves, water, cushions, foam flakes, books, magazines, “pulp fiction”, straw, matting, and incense, 68.9 x 49.21 x 11.48 in. (21 x 15 x 3.5 cm). César and Claudio Oiticica, Rio de Janeiro. © César and Claudio Oiticica

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  Hélio Oiticica (1937–1980), installation view of Eden (1969) at Whitechapel Gallery, London, 1969. Sand, crushed bricks, dry leaves, water, cushions, foam flakes, books, magazines, “pulp fiction,” straw, matting, and incense, 68 ft. 10 3/4 in. x 49 ft. 2 1/2 in. x 11 ft. 5 3/4 in. (21 x 15 x 3.5 m). Collection of César and Claudio Oiticica. © César and Claudio Oiticica

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  Miguel Rio Branco, Babylonests, 1971. Digital projection, dimensions variable. Courtesy of César and Claudio Oiticica, Rio de Janeiro.

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  Miguel Rio Branco, Babylonests, 1971. Digital projection, dimensions variable. Courtesy of César and Claudio Oiticica, Rio de Janeiro

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  Hélio Oiticica in front of a poster for Neil Simon’s play The Prisoner of Second Avenue, in Midtown Manhattan, 1972. © César and Claudio Oiticica

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  Hélio Oiticica, P31 Parangolé Cape 24, Escrerbuto (P31 Parangolé Capa 24, Escrerbuto) worn by Omar Salomão, 1972. Nylon mesh fabric and plastic vinyl, 38 ½ x 33 in. (97.79 x 84.58 cm). Courtesy  of the Ortiz Family. © César and Claudio Oiticica

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  Parangolé Cape 30 in the New York City Subway, 1972. Digital projection, dimensions variable. Courtesy of César and Claudio Oiticica, Rio de Janeiro

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  Hélio Oiticica, PN27 Penetrable, Rijanviera, 1979 (installation view Pinacoteca do Estado de São Paulo, 2010). Aluminum, plastic, wire, water, sand and gravel; overall plan: 118 1/8 x 196 7/8 in. (3 x 5 m), panels: 102 3/8 x 39 3/8 in. (2.6 x 1 m). César and Claudio Oiticica, Rio de Janeiro. Photograph by Edouard Fraipoint 

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  Hélio Oiticica. Installation view. Tropicália, 1966-67. Plants, sand, birds, poems by Roberta Camila Salgado on bricks, tiles and vinyl squares. Collection of César and Claudio Oiticica. Photograph by Matt Casarella