Spatial Relief (red) REL 036 by Helio Oiticica

Spatial Relief (red) REL 036 1959

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Dimensions: object: 625 x 1480 x 153 mm, 15 kg

Copyright: © Projeto Hélio Oiticica | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Editor: So, here's Helio Oiticica's "Spatial Relief (red) REL 036." It's a striking construction with bold geometric shapes and vibrant reds. What's your take on its historical context? Curator: Oiticica's work reflects a crucial period of political and artistic experimentation in Brazil. He was deeply engaged in creating art that broke from traditional gallery spaces, moving into public and participatory environments. How do you think this piece engages with that impulse? Editor: Well, it's hanging, so it occupies space differently than a flat painting. I suppose it's an early step towards immersive installations. Curator: Exactly. Oiticica aimed to democratize art, making it accessible and interactive. These spatial reliefs were his way of challenging the established norms of art consumption and inviting viewers to actively engage with the artwork's environment. Editor: That's fascinating, it makes me think about the power of art to shape public space. Curator: Indeed. Oiticica blurred the boundaries between art and life, envisioning art as a catalyst for social change and communal experiences. It's a powerful testament to art's role in shaping public discourse.

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tate 1 day ago

http://www.tate.org.uk/art/artworks/oiticica-spatial-relief-red-rel-036-t12763

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tate's Profile Picture
tate 1 day ago

Oiticica suspended this work from the ceiling so that viewers would have to walk around it. He wanted us to become active participants in the work. Only by walking around it can you see the difference in colour and shapes on both sides. It is painted in two very similar colours, chosen for their reaction to light. Oiticica was influenced by the ordered abstraction of artists such as Piet Mondrian and Kazimir Malevich, whose work is also on display in this room. But Oiticica introduced elements of movement and change, emphasising the bodily experience of his work. Gallery label, August 2019