Full text
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| Author(s): |
Carolina Akemi Martins Morita
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Carlos. |
| Institution: | Universidade de São Paulo (USP). Escola de Engenharia de São Carlos (EESC/SBD) |
| Defense date: | 2011-08-18 |
| Examining board members: |
Luiz Antonio Recaman Barros;
Ricardo Nascimento Fabbrini;
Cibele Saliba Rizek
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| Advisor: | Luiz Antonio Recaman Barros |
| Abstract | |
This work intends to understand how space was constructed - in the sense concerning the notion of participation - in the routes of Sérgio Ferro and Hélio Oiticica, during the decade of 1960, by means of the analysis of their works - writings or artistic/architectonic propositions - in the light of their mean theoretical interlocutors. Sérgio Ferro and Hélio Oiticica were somehow distinct from the prevailing movements in this period, be it for their political approach, their engagement to the popular, their defense of individual and collective participation, or the relations between object and subject they proposed. The architect Sérgio Ferro, from a marxist approach, criticized the modern drawing, the alienation e exploitation in the construction, and supported the creative and \"free work\", the participation, the engagement in the construction site, that is, the \"re-humanization\" of work. As for the artist Hélio Oiticica, the anti-work consisted in a totality among art-life-action, with the purpose to reach new senses of space and time, new relations between subject and object, and to generate social and political impacts from an artistic approach. Experimentation and participation appeared connected in both artists, as a possibility to question an established reality, and to engender transformations. The relevance of these debates is thus based on the fact that they represent symbolic manifestations against the prevailing reality in 1960, which inspired new questions and reflections in the fields of art and architecture, and have resonances to actuality. Before the organized, harmonic and controlling space, the abstract and programmed time, the rationality of an alienated subject and the autonomous object, Hélio Oiticica and Sérgio Ferro, each one in his own way, will search for manners of (re) appropriation of the object, space and time. It is thus basing on these aspects that we intend to analyze their propositions. (AU) | |
| FAPESP's process: | 09/02432-0 - Architecture and art in the late 60s: new architecture and the new Brazilian vanguard |
| Grantee: | Carolina Akemi Martins Morita Nakahara |
| Support Opportunities: | Scholarships in Brazil - Master |