〜のジークレープリントを作成 Banquete tupinambá

EVERYTHING THAT MY BODY FEELS IS THOUGHTFernando Pessoa’s expression seems to be a motto for the work of the Brazilian artist Lygia Pape, as well as for her partners Lygia Clark and Hélio Oiticica. This generation that was born into art with the Brazilian neo-concretism of the end of the nineteen fifties had, in the words of Oswald Andrade, an energy that made it possible to transform the tradition of western abstract art into corporality, resetting it within the specific condition of the tropical universe, in the Brazilian vernacular. For Lygia Pape there is no distinction between figuration and abstraction, between rationality and expression, between corporality and conceptuality. Everything is swallowed up in the anthropophagic vortex of Brazilian culture and everything can be regurgitated as long as sensuality appears intelligently on the surface of the skin. This erotics of the concept is present in all the moments of her course, from the way she appropriates the languages of abstraction in order to convert them into a grammar of colour, which will soon be combined with text in her paintings and sculptures, as will be developed in many different forms throughout the seventies and eighties. At the end of the nineties Lygia Pape made a series of works around the memory of Tupinambá, the great federation of native tribes that occupied the Brazilian coast. Red is the colour that unites these works, sometimes feathers also, in the case of the sculptures or the installations. In a painted photograph this dense, bloody red appears as a mantle, or a cloud that covers Rio de Janeiro. In a poem from the same time, Pape wrote:what mantle?what mantleTUPINAMBÁh eresoft peñas redblood-red ingrilledritualsGUARÁ inCUNHAMBÉBE in shoulderfan-peña-flightanthropophagic mind swallowsspirit and fleshTOGETHER It is this anthropophagic union that this table celebrates. It is this erotics of the flesh that is also of the spirit, steeped in the deep history of Brazil, knowing that its specific condition is its universality. There is a deep anthropology in Pape’s work.Delfim Sardo

アーティストの略歴

Early Life and Education

Born: April 7, 1927, Nova Friburgo, Brazil
Died: May 3, 2004, Rio de Janeiro, Brazil
Studied philosophy at the Universidade Federal do Rio de Janeiro (UFRJ).
Received informal training in fine arts and studied with Fayga Ostrower at the Museu de Arte Moderna do Rio de Janeiro.
Began her artistic journey around 1950, influenced by European constructivism.

The Concrete and Neo-Concrete Movements

Concrete Art: Joined the Concrete art movement in the early 1950s, embracing geometric shapes and materiality.
Grupo Frente: Co-founded Grupo Frente in 1952 with Ivan Serpa, Hélio Oiticica, and Aluíso Carvão. This group rejected Brazilian modernism's figuration and nationalism.
Neo-Concrete Movement: A key figure in the emergence of the Neo-Concrete movement in the late 1950s. This movement moved away from pure rationalism, incorporating sensuality, color, and poetic feeling.
Manifesto: Co-signed the Neo-Concrete manifesto with Lygia Clark and Hélio Oiticica, advocating for viewer interaction and phenomenological experiences.

Key Works and Artistic Development

Tecelares Series (1950s): A series of wood prints featuring planes of black ink and thin lines, evoking handiwork and a connection to Brazilian culture. These works explored the concept of "magnetized space."
Livro da Criação (Book of Creation) (1959): A part-book-part-sculptural work designed to narrate the genesis of the world, allowing viewers to manipulate pages and create unique narratives.
Livro do tempo (Book of Time) (1961–63): Consisted of 365 three-dimensional units representing each day of the year.
Neoconcrete Ballets (late 1950s): Performance pieces involving dancers in colored costumes, exploring movement and space.
Film Work: Involved with Cinema Novo as a designer and later created experimental films incorporating social and political themes.

Influences and Historical Significance

European Constructivism: Early influence on her geometric abstraction.
Brazilian Indigenous Culture: Inspiration for the "weaving" metaphor in the Tecelares series, connecting to traditional Brazilian art forms.
Hélio Oiticica & Lygia Clark: Collaborated with these artists and shared a vision for expanding contemporary art in Brazil.
Pioneer of Neo-Concrete Art: Pape's work significantly contributed to the development and expansion of Neo-Concrete art, pushing boundaries through interaction, ethics, and politics.
Legacy: Her emphasis on viewer participation and exploration of social themes continues to inspire artists and art enthusiasts worldwide.

Later Career and Recognition

Taught at the Museu de Arte Moderna and Universidade Santa Úrsula in Rio de Janeiro.
Received a master's degree in philosophy of art from UFRJ.
Participated in major exhibitions, including the São Paulo Bienal and the Venice Biennale.

Lygia Pape

1927 - 2004 , Brazil

基本情報

Artistic Movement Or Style: Neo-Concrete Movement
Artists Who Influenced This Artist: ['Theo van Doesburg']
Date Of Birth: April 7, 1927
Date Of Death: May 3, 2004
Full Name: Lygia Pape
Nationality: Brazilian
Notable Artworks:
- Tecelares Series
- Livro da Criação
- Ttéias
Place Of Birth: Nova Friburgo, Brazil

Banquete tupinambá

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アーティストの略歴

手描き油彩複製画

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