Lygia Pape

Apocalipopótese documents a public art happening organized by Rogério Duarte with Hélio Oiticica and Lygia Pape. Duarte coined the event’s title by fusing the words apotheosis, hypothesis, and apocalypse, in order to describe a series of artistic actions that distanced themselves from artistic institutions to approach the streets as the main stage. Apocalipopótese shows a search for the margins as creative methodology.

An affective approach to the relationship between Mário Pedrosa, one of the greatest art critics of the 20th century, and some of the most important Brazilian artists takes the viewer on a journey through Brazilian art from the 1950s.

Documentary with fragments and records about the boundaries between art and counterculture, based on a debate held at the Museum of Modern Art, Rio de Janeiro, in October 1968.

Follows the story of Opinião, a theatre group created in 1964 during the early Brazilian dictatorship period to oppose the government through artistic performances. Considered the first left-wing response to the dictatorship, the group gathered now famous Brazilian artists such as Nara Leão, Maria Bethânia, João do Vale and Millôr Fernandes.

A satire on the relationship between the artist and the art market.

Sensuality, beauty, sophistication, elegance turning into a great debauchery. Both sides: chic and tacky. Where does one start? Where does the other end? Black tie party with pool, "waterfalls", champagne and murder. A police farce full of humor to the sound of great hitz by Artie Shaw, Marilyn Monroe, Alberta Hunter, Andre Previn and Gipsy Kings.

A satire on the relationship between the artist and the art market.

A satire on the relationship between the artist and the art market.

Football images and the study of Modern Mathematics.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

Lygia Pape created O ovo in 1967 and showed it in the group exhibition Apocalipopótese, held at Aterro de Flamengo in Rio de Janeiro in 1969. The work consisted of three cubes made of wooden boards, with each side covered with a layer of blue, red, or white plastic film. The participant would enter the structure through the open bottom side of the cube and push the film/skin in order to simulate the act of being born. Before showing the work, the artist herself entered one of the cubes. She described her experience: "You are trapped inside, covered by a sort of membrane; when you push on it with your hand, the membrane starts to give and suddenly tears, and so you are born: you stick your head out of the hole and roll on out." After the military coup d'état in Brazil in 1964, Pape devoted most of her practice to film and continued to make experimental films into the 1970s.

No synopsis available yet.

No synopsis available yet.