Yesterday I visited the recently opened Hélio Oiticica retrospective. Oiticica was a Brazilian multimedia artist and “the most influential Latin American artist of the post–World War II period,” as the introduction to the exhibit puts it. Most of his work was political and much of the exhibit has an explicitly political message. Che’s familiar face greeted us in the second gallery; the image at left hung on the adjacent wall.
Not all of it is so serious, though. One section of the exhibit is a recreated beach, complete with sand, birds, and reconstructions of some of the box-like penetrables. Bouncing in the foam pit and trudging barefoot across the installation I felt as if I was transgressing all that I knew about museums. Can I do this? I asked the guard several times. Each time he nodded. Twice he added suggestions: “Feel free to go in there,” he said.
The most effective piece was one which combined play and politics, one of Oiticica’s signature penetrables. It is built like a maze, but with one path. Every few feet the path is broken by a semi-transparent curtain which one must move through to continue. Each section formed by the curtains in front and behind has its own multicolored light-source and a television blaring contemporary advertisements. The curtains block both light and sound, so the transition between sections is as complete as stepping across the threshold of one store to enter another in a mall. The total effect is disorienting. At the end of the maze is one final surprise, engaging one of the remaining senses. But I won’t spoil it. You’ll have to taste for yourself.