Megan Govin, When Weeping Ends, 2013
Video excerpt from original installation (video, sound, light projection)
h
AnasAbdin
Lint Roller? I Barely Know Her
No title available

tannertan36

ellievsbear

Love Begins
dirt enthusiast
No title available

No title available

Kaledo Art
Not today Justin
RMH
cherry valley forever

JBB: An Artblog!

pixel skylines
🪼

No title available
Misplaced Lens Cap
occasionally subtle
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States

seen from United States

seen from United States

seen from Türkiye

seen from Canada
seen from United States
seen from United States

seen from United States

seen from Malaysia
seen from United States
seen from United States
@bkarthistory
Megan Govin, When Weeping Ends, 2013
Video excerpt from original installation (video, sound, light projection)
Some Artists
November 1 – December 20, 2014 Opening: Saturday, November 1, 6-9pm
Participating Artists David Diao, Mary Beth Edelson, Alfred Jensen, George Maciunas, Loren Munk, Ward Shelley, John Zinsser
MINUS SPACE is delighted to present the group exhibition Some Artists, highlighting several generations of artists whose works investigate and visualize artists, greater art historical moments, and related aesthetic research primarily through charts, maps, and diagrams. The exhibition will feature new and historical paintings, drawings, and prints by seven artists: David Diao, Mary Beth Edelson, Alfred Jensen, George Maciunas, Loren Munk, Ward Shelley, and John Zinsser.
Works included in Some Artists examine and subjectively reimagine subjects, such as Alfred Barr’s landmark chart Cubism and Abstract Art illustrating the development of Modern Art (Ward Shelley); the Abstract Expressionist painter Barnett Newman’s unfinished paintings (David Diao); the growth of Fluxus and the expanded performing arts movement between 1959-1966 (George Maciunas); artists and galleries in the Post-War Los Angeles and San Francisco art scenes (Loren Munk); the emergence of the Feminist art movement in the early 1970s (Mary Beth Edelson); seminal NYC galleries and their affiliated artists spanning the 1960s-2000s (John Zinsser); and color systems as they relate to energy flow (Alfred Jensen).
Hartmut Böhm: Wall Works
June 28 – August 2, 2014 Exhibition begins on Saturday, June 28th
Adrian Piper: Conceptual Artist and Analytic Philosopher
Adrian Margaret Smith Piper (b. 1948) is a first-generation Conceptual artist and analytic philosopher. She attended the New Lincoln School throughout grammar school and high school, and the Art Students’ League during high school. She began exhibiting her artwork internationally at the age of twenty, and graduated from the School of Visual Arts in 1969. While continuing to produce and exhibit her artwork, she received a B.A. in Philosophy with a minor in Medieval and Renaissance Musicology from the City College of New York in 1974 and a Ph.D. in Philosophy from Harvard University in 1981 under the supervision of John Rawls; and studied Kant and Hegel with Dieter Henrich at the University of Heidelberg in 1977-1978.
Adrian introduced issues of race and gender into the vocabulary of Conceptual art and explicit political content into Minimalism.
Great piece on Adrian by Robin Cembalest via ARTnews from October of last year:
http://www.artnews.com/2013/10/25/piper-pulls-out-of-black-performance-art-show/
#CAA2014!!!
Were you at the College Art Association's annual conference in Chicago earlier this month? my thoughts on the event here...
http://www.artinlimbo.com/2014/02/25/caa-2014/
Say farewell to February with a new #ArtArmor. Let's get to prepping for March and the week ahead! http://t.co/cnoSnRSous #art #artnews
— Art in Limbo (@Art_Limbo)
February 24, 2014
Here is a link to an edited version of the artist profile I wrote about Kevin Simón Mancera, which appeared on Art in Limbo. He is a truly amazing artist and wonderful human being!
Rosalind Krauss' Under Blue Cup
Though Rosalind Krauss broke her alliance to the formalism of Clement Greenberg in awareness of its limitations for addressing the postmodern art of the 70s and 80s, she has maintained some Greenbergian rigidity in her critique of contemporary art. As early as 15 years ago in Voyage on the North Sea, Krauss expressed discontent with much of the art coming out of what she calls the “post-medium condition” (e.g. video installation, intermedia), establishing it as “an indulgence in capital enterprise.” Krauss’ 2011 Under Blue Cup demonstrates the critic’s continued support for medium specificity (though she differentiates her evolved version of specificity from Greenberg’s) and her continued assessment of much of the installation art of the past decade as meretricious.
Krauss feels that four things: 1) the dematerialization of the art object that arose out of postminimalism, 2) conceptual art and its focus on the idea and the textual versus the visual, 3) the importance of Duchamp’s readymade (but more so artists continual rehearsal of his initial gesture) and 4) deconstruction’s attack on the “self” or specificity have all contributed to the post-medium condition resulting in installation art that is fraudulent, takes shortcuts, has forgotten the history of art and therefore ignores the scaffolding on which it could be supported. In her evolved version of medium specificity, she does not argue that that painters be painters, sculptors be sculptors and so forth, but she finds merit in the artists who, though inventing their own set of rules, do so while remembering the history of the medium and applying that to their practice. She clearly delineates her opinion of quality work which continues to point out “who it is” in a recursive, self-referential manner from the aesthetic meaninglessness and wasted efforts of many contemporary installation artists.
In what initially seems to be a somewhat separate crusade, Krauss puts forth resistance to the “collapse of the white cube”, which she feels continues to be necessary by offering support to a work the way in which the edge of a pool is the surface against which we kick off of in order to propel ourselves back through the water. Through Roland Barthes and Susan Sontag, Krauss points to the errors made in a reader’s inclination to hurry to get to the point of a narrative (i.e. cultural conformism or political moralism), as well as the tendency to disallow oneself the pleasure of the “erotics of art” in a misguided attempt to achieve quick understanding as contributors to the the problem, coupled with the pervasive narrative about the obsolescence of the white cube. As she furthers her plea for the preservation of medium specificity through the remembrance of the history of the medium, she links it to the beneficial structure that can be provided by the preservation of the white cube.
What Krauss intends when referring to the remembering the history of the medium, is substituting a new or invented “technical support” for the traditional idea of a physical medium. So instead of oil on canvas or tempera on wooden panel, she means an idea or a logic that can be borrowed from what we could consider traditional mediums or from available mass-cultural forms like animated films, automobiles, investigative journalism or movies (such as in the artist examples she provides).
For example, in William Kentridge’s animated film Ubu Tells the Truth, Krauss finds an allegory of postmodernism’s attack on the specific medium and a way of resisting it. She discusses the “elegance of this enactment of modernist self-reference” and because of his reflexive presentation of the cinematic medium, considers Kentridge a “knight of the medium” or one of the artists she champions, along with Christian Marclay, James Coleman, Sophie Calle, Marcel Broodthaers. In a greater leap for articulating the kind of new or "invented" medium she supports, she uses the presence of the automobile as a theme/device (read: medium) woven through Ed Ruscha's works, though never actually visible.
Ubu profanes the medium though Kentridge resists its desecration in a synchronous audio/visual tango between protaganist and antagonist.
The succession of window frames references the celluloid strip through projector.
Krauss spoke of Tacita Dean's "FILM", deeming it a success because "you can't say 'she could have just done that on video.'"
Krauss says Ruscha invented the car as medium to make a recursive structure that signifies, the way older mediums had done.
"Well I paint things that I'm against to try to make them wonderful." Meet Grace Hartigan:
Michael Brennan's Grey Razor Paintings opens tonight at MINUS SPACE in Dumbo Brooklyn
January 10 – February 15, 2014 Opening: Friday, January 10, 6-9pm
MINUS SPACE is delighted to present the exhibition Michael Brennan: Grey Razor Paintings. This is the Brooklyn, New York-based artist’s second solo exhibition with the gallery and it will feature a suite of new small-format paintings that merge geometric and gestural abstraction. The exhibition will take place at MINUS SPACE’s new Dumbo, Brooklyn location (111 Front Street, Suite 200).
Michael Brennan’s new paintings appear monochromatic upon first impression; however, employ a broad array of greys, blacks, and whites, which he tints with discreet amounts of other hues. Color is a core concern for Brennan and his paintings reflect his knowledge not only of established, spectral color painting, but also his deep interest in historical photography, printmaking, and early film.
A sense of economy, not minimalism, is a virtue for Brennan. He commonly employs no more than two layers of paint in his finished works, which juxtapose one or two bands of a single, solid color often pushed to the very top or bottom edges of the canvas, against a more organic area of paint, which he applies with a palette knife during a single session in the studio. About this hybridization, Brennan states, “The border, with all its various manifestations, fixes and telescopes the image.”
Size and scale are also critical concerns for Brennan. He remarks, “I’ve been thinking a lot about what the scale of our time might be. We live in an era where an enormous amount of information is concentrated on small objects like smart phones or tablets.” Although he has produced large format paintings in the past, Brennan has focused on producing small works with a thinner profile for the past few years. He continues, “I found that I got a better object/painting correlation that was analogous to a flat screen TV or some of the other tricked-out tech things we are all surrounded by. I also thought that most images of paintings are now trafficked through the web and the first thing that is lost is a sense of scale.”
Michael Brennan (b.1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his work nationally and internationally for the past two decades, including in the United States, Mexico, Belgium, Germany, Australia, and New Zealand. His paintings and works on paper have been reviewed in publications, including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, and NY Arts. His writings and reviews have been published by The Brooklyn Rail, ArtNet Magazine, The Village Voice, The Architect’s Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, among others.
Brennan’s work is included in collections, such as the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. Brennan holds an MFA from Pratt Institute, Brooklyn, NY, and a BA from the University of Florida. He is currently Adjunct Assistant Professor at Pratt Institute and has also taught at the School of Visual Arts, Hunter College, and Cooper Union in NYC.
- See more at: http://www.minusspace.com/2013/12/michael-brennan/#sthash.4q1Iv1zM.dpuf
popcretos
Waldemar Cordeiro’s popcretos are seen as important precursors to Conceptual art. A major figure in the ruptura Group in the 50s and of Sao Paulo’s Concrete art movement, he began constructing “concrete-semantic” devices (or popcretos) in the mid-1960s. These objects attempt to dissolve the physical and semantic structure of the object in order to create new meanings, according to Helio Oiticica.
A letter included in Inverted Utopias, comes from Max Bense, a German philosopher to Cordeiro. The letter serves to acknowledge Bense’s initial lack of understanding of the works and to communicate his subsequent reflection on their aesthetic purpose.
Bense says that the popcretos are a fusion of two states of things: things related to practical consumption and things related to theoretical consumption. The works are sculptural constructions using everyday objects and in this example are manipulated to rotate the plane similar to his early works (see other image posting). They represent the metaphysical differences between the commonplace object (e.g. chair legs) and the more rare, ideal, Platonic, perfection of a polygon. Furthermore the everyday object is in a state of destruction. He says that the two styles, pop art and concrete art are functioning as thesis and antithesis. However, the scrap material is annihilated by the idea of ordering, so this synthesis is not idealistic. I can relate to this notion in this piece. Though the table and chair are destroyed and incomplete they are ordered in a controlled way. Things are in disarray but not complete chaos.
Kevin Simón Mancera: Imperfect Reality
Kevin Simón Mancera is a 31 year old artist from Columbia, who has exhibited his own work and been active in a curatorial capacity since his early 20s in 2004. He received his MFA from the Universidad Jorge Tadeo Lozano in Bogotá in 2007, has had artist and curatorial residencies in Brazil and Spain respectively, and has shown with Nueveochenta Gallery since 2008.
I recently encountered a monumental piece by Mancera at the 2013 Pinta Art Fair in New York. The work was titled The New York Times and is made up of 24 individually hand-drawn posters in black or white background, featuring reverse-type text also rendered by hand. Each individual poster features a headline from the actual New York Times newspaper with the corresponding date of the issue in which it ran. All of the selected headlines are negative in content, from “A Glide Path to Ruin” to “A Roar, then Blackness: ‘I Have Lost Everything,’” referencing specific disasters of various sorts, be it natural, personal, physical, political, or financial. The piece was included in a curated section of the fair called PINTA EMERGE in which Jose Roca, adjunct curator of Latin American art at Tate London and Artistic Director of Bogotá art space FLORA ars+natura (Bogota/London), included 8 emerging artists’ projects within the theme of “Modern Ruin.” Roca said, “ruins used to be a remote past and were evoked with nostalgia. But nowadays ancient ruins coexist with those of Modernity.” PINTA EMERGE, including Mancera’s piece, was intended to reflect on the spoils of our most recent past.
For the posters in The New York Times with black backgrounds, the artist drew tiny individual black lines in successive rows until the page was entirely filled and became a black ground, a technique Mancera has used in other projects, which gives a lively, hand-made feel to imagery and at the same time references a machine-printed origin. The meticulously hand-drawn technique he uses throughout all of his works give them a very personal and deliberate quality.
His drawings are primarily done on paper in ink or pencil, sometimes including watercolor. They are emotional works and explore the sadness of everyday life. It has been said that his drawings have a child-like or youthful quality. Many of them confront fears about love, trust and loneliness and often, in his imagery of humans connecting with domestic pets (as in I’ll Always Remember but now I Forget) or of animal-like creatures set in human scenarios (as in I’m Afraid), they convey the experience of feeling like the "other" in a given situation or the world. Some evoke the weariness that can be found in today’s connected and traveling culture, where the entire world is at our fingertips and the dismay that such infinite geographic possibility can create. Paquita la del Barrio said in an essay about his work that, in his drawings, “sadness, smallness, frustration and hatred are always active and in many, it is he who is shown as perpetrator or directly responsible for representing those situations.” In an interview with Volketa, a blogzine run by graffiti artist Saga Uno in Bogotá, Saga Uno said that Mancera’s drawings recalled moments of pain or loneliness and heartbreak, but he acknowledged that even with these recurring themes - misfortune, agony, love, heartbreak, death - the result is not necessarily negative, but more prominently human.
Mancera is a brilliant illustrator but also conceptually many of his works have played with the idea of replication or transcription, “listing” or categorizing, as well as projects which pair together acts with drawings and photographs or hand-drawn postcards that were mailed between two destinations. Mancera speaks in a simple language, a very human language that we can all understand. However you might also say that it is a language, medium and geographic output center that the international art market, to their own detriment, has been somewhat slow to embrace. In a 2012 article for W magazine, Eric Banks discussed how Colombia’s legacy in narco-trafficking and guerilla warfare have been turned around and that international curators, such as Klaus Biesenbach of MoMA PS1, contemporary art curator Jens Hoffman, and prominent art critic, curator and historian, Hans-Ulrich Obrist, have engaged with the country for the past decade. Hoffman says, “It’s such a strong, young scene, with such a particular language. And it’s as if it suddenly came into being. There are a lot of continuities with an earlier generation that wasn’t very well known outside of the country—interests in form, in social issues—but it’s very subtle, which is fascinating.” Despite the growing interest in the market, it still must be difficult for individual artists to determine if and how they want to seek an international audience.
Even navigating the world of local collectors in the region must have been challenging for artists. As Banks assessed the burgeoning art market in Bogotá, he quoted Carlos Hurtado, 31, the director of Galería Nueveochenta (coincidentally, the gallery who represents Mancera), who said that before the city’s turnaround, “collecting was a social problem.” Banks surmised that many “viewed the business of art, in particular, as either a front for money laundering or an excuse to churn out Botero-style knock-offs.” Despite that mired history, it is no doubt that the art scene in Bogotá is active and getting attention.
One wonders how Kevin Simón Mancera might feel about his country’s progression in today’s globalized art world. Many of his works reflect such a personal journey and statement it is hard to imagine unflinching support of an extremely globalized art market (the kind that has created an increasing number of biennials as tourist attractions), though the desire as an artist to share your work broadly must be somewhat inherent to artistic practice. Mancera manages to create work of a highly personal nature, with a deliberate and meticulous hand while also acknowledging and confronting universal constructs he finds problematic and to which we can all relate.
As in The New York Times from the Pinta Art Fair, Mancera presented a critical view of the news before in his 2009 piece Al Mal Tiempo, Mala Cara(perhaps a play on the phrase “al mal tiempo, buena cara" or “when everything goes wrong, keep smiling.”). In this piece, he reproduced the entire May 1st (Labor Day) issue of El Tiempo (the official journal of Colombia) but preserved only the bad news, omitting positive news and advertising. While the blank areas are noticeable, they are few, seemingly a statement on our obsession with negative sensationalization in media. The detailed reproduction took him four months to make and an edition of 3,000 prints were shown at ARTBO 2009, Bogotá’s annual international art fair, as part of a newsstand installation. Editions were sold for 3500 pesos, approximately two dollars. As Santiago Ramos Bravo described in the introduction to a short interview with Mancera, the illustrated newspaper required significant effort and detail, though it was a reproduction of an issue from Labor Day, a day upon which nobody actually works. Bravo found this to be ironic and “a critical discourse on the Colombian reality, on the value of work, as well as the value of art.”
Similarly in its conceptual exploration of negative language, in 2008 Mancera created a piece called Lista Negra (or Blacklist), in which a selection of words with any negative connotation found in the dictionary were hand-drawn. He described it as "a long list of pessimism and offense, treated with a long and patient drawing." The piece shows his continued interest in an exploration or quantification or historical record of negative language. Mancera said, “language and the objects it inhabits are an attractive source of inspiration to my work. Books, magazines, conversations, chat tools, emails, mail, the internet, dictionaries or...newspapers. By exploring these elementary mediums I can methodically collect and show themes and I can do it in a way that is meticulous and manual.”
His “listing” of negative concepts also appeared in an earlier work titled Cien Cosas Que Odio or 100 Things I Hate of 2007. It is a humorous, but very personal “list” of drawings of things that Kevin hates, including ice in his Coke, “committed or cause” artists (such as Bono of the band U2), Op Art and tight shorts. Mancera has discussed his drawings as a “classifier to organize the world that surrounds me.”
In a more conceptual piece involving the act of traveling, drawings and photographs, titled La Felicidad or Happiness of 2012, Kevin made a pilgrimage to territories literally named “Happiness” in seven different countries in Latin America. He traveled to these places with only a few notebooks and a camera, filled the notebooks with drawings and snapped a photograph nearest to the point of the exact coordinates of the location deemed “Happiness.” In this piece, Mancera seems to be on a quest to again explore language, or what it might mean to name a place with an emotional term describing a feeling. Is this location emblematic of happiness? As a traveler to or inhabitant of this location, will you become happy? Will this happiness remain with you when you leave?
This series may also have been exploring the mythology of traveling, present in the pilgrimages people have made to iconic destinations for centuries. However the purpose of these types of journeys seem to have developed a new role in contemporary society. With smartphones and the ability not only to pinpoint your exact location with GPS at any time, but also to capture and share images of yourself in any location instantaneously, a new experience is developing. When the viewer sees images of travelers in iconic destinations, such as the Eiffel Tower, Machu Picchu etc. they feel as though they know these places themselves. Gabriel Jejia Abad says that we assume we know these places we see in the photos, even if we have never been, and we take for granted that the traveler is happy in these places. I don’t believe Mancera subscribes to that sort of happiness. His images of locations named “Happiness” are of desolate places. Abad says that “happiness, as Kevin Mancera shows us, is not even in the places that hold the name.” She goes further to project that, “maybe happiness resides in being able to escape, to disappear and create from disappearance, new architectures from those places.” I am not convinced Mancera would have expressed this as a result of the piece. I don’t think he wanted us to realize that happiness is to be found in the journey. I simply think he wanted us to recognize the inherent illusion in the name. Mancera said, “If I engage in a critical outlook by choosing to highlight negative content I am making a comment about reality and our falsely optimistic society.”
Mancera created two series of works which explored the unfortunate end to a celebrated highpoint for various famous individuals in Todo Tiene Su Final (Everything Has its End) from 2011 or portraits of individuals who did not reach their potential due to a specific moment of failure in Sobre el Fracaso (On Failure) of 2010. In one of these works, the bicycle rider Roger Riverie, a three time world champion, is depicted after a fatal crash in the Tour de France in 1960. He was then confined to a wheelchair. On a lighter note, Mancera rendered a scene in which Nicole Ritchie kisses Paris Hilton on the cheek. This is based on a real image which was captured after the well publicized fight between the two which ended their reality show and seemingly their friendship.
Mancera is not interested in playing along with the falsehoods created by the power structures and social constructs of today’s society. His recurring subversion of our use of language or our perceptions about happiness, fame and the media may have roots in his early development as an artist. As an art student in 2005, Mancera was part of a group of students and professors who founded an art space in Bogotá called El Bodegón which “fostered an ethos of experimentation, risk, and spontaneity” that stood in contrast to the city’s institutionally recognized practices which were deemed self-serving. The organization is said to have had an antagonistic relationship to the city’s art infrastructure and “sought to to create a map of artists’ real practices: the kind of things done for one’s own enjoyment rather than a commitment to a certain social status or the maintenance and furthering of professional aspirations.” The organization was short-lived (it lasted only four years) due to lack of funding and organizational disagreements, however is now recognized as having paved the way for a continuation of new artist-run initiatives developing in the city.
Mancera has continued practicing in this do-it-yourself manner throughout his career. In December of 2010, he and his wife, Andrea Triana launched Jardín Publications, an independent publishing organization focusing on and producing editorial products, publications and fanzines for young Colombian artists in Bogotá.
Kevin also runs Radio Volcán Mudo (Silent Volcano Radio), a weekly radio program, featuring expertly crafted playlists based on various themes (my personal favorites including playlists themed around cats, rhythmic beats or death) which are released online and paired with a drawing.
Though their materials and aesthetic are quite different, I cannot help but draw comparisons ideologically and in subject matter between Kevin Simón Mancera and fellow Colombian painter, sculptor, critic, curator and art historian of a previous generation, Beatriz González. Gonzalez addressed the dissemination of newspaper and documentary images in her work and she created “representations of representations” in her paintings on pieces of everyday furniture, thereby subverting the function of her medium as Mancera often subverts our use of language. Gonzalez and Mancera both rework ideas of loss in a playful manner, one fraught with elegantly dark humor (as Bravo described Mancera’s personality).
Despite the long list of negative emotions we have identified in Mancera’s content, it is not to say that optimism cannot be found in connecting with his work. He is our anti-hero. Mancera has said that ideally “his drawing is a language that generates a proximity relationship between the persons who see it because there are no tricks or artifices.” He also believes “that portraying pessimism leaves two options to the spectators: they identify with this reality or feel fortunate for not sharing other people’s misfortunes.”[3] I personally prefer the former, human connection through the acknowledgement of our shared, but imperfect reality.
---------
Expansive Construction
I find this piece, Reticulàrea, by Gego from 1968 - 1981 so visually stimulating and complex on many levels. It has an expansive nature both physically, in its construction, and temporally, in that the piece changed and evolved in different installations over the the course of 13 years. I also find the artist herself intriguing, in that she is a German born immigrant to South America. Luis Perez Oramas places Gego in a unique position, and her work in contrast with geometric abstraction and falling outside of the swell of kinetic art at the time, even Venezuelan's own Cinetismo. With Reticulareas, Gego converts a neutral space into one that is defined by random decisions. As someone who often tells my friends to look at abstract paintings and envision that they are within that world (a plane of color becomes a room that surrounds you, a line becomes an object with volume beside you), this sculpture is exciting to me because creates that awareness that you are in "that room" but its tenuous nature allows for you to fill in the void around it with your own associations. Though it may reference connective tissue from a bodily standpoint as the name implies, I also find this imagery incredibly prophetic (in 1968!) as it alludes to the mapping of technology and information sharing. You may find it familiar with infographics we often see in magazines and elsewhere that seek to visually articulate abstract connections between items such as: repeat actors on hbo series http://www.coolinfographics.com/blog/2011/9/16/hbo-recycling-program.html or artists active during the beginnings of abstraction http://www.moma.org/interactives/exhibitions/2012/inventingabstraction/?page=connections
I’m looking for Brooklyn graffiti artists who might want to create a site-specific piece for a Brooklyn establishment. Please message me with links or images of your work if you might be interested!
Sculpture to activate the viewer
Relevo Espacial (Spatial Relief), Hélio Oiticica
Neo-Concretist Hélio Oiticica investigated nature and the physicality of color, creating chromatic, organic structures that stand apart from the physical world. Like Joaquin Torres-Garcia before him, he believed the idea of the object and its structure are one and the same. Oiticica said, “The structure is brought to space, revolving 180 degrees around itself: that is the turning point to reach time in color. Henceforth, the spectator is not seeing a single side, deep in thought, but is impelled to action.” Beyond this piece, we know that Oiticica further explored the human element in art as it manifests in a participant-actor-receptor scenario through olfactory works, performance pieces and large-scale sculptures that engulf the viewer. It's spellbinding to see, within one artist’s oeuvre, such a swift and broad journey from “point, line and plane” to volume and space, to corporeal experience and finally to collective dimension.