Delirium, as defined by Google, is “an acutely disturbed state of mind that occurs in fever, intoxication, and other disorders and is characterized by restlessness, illusions, and incoherence of thought and speech.” Hélio Oiticica’s exhibit To Organize Delirium is almost a paradox- an attempt to organize that which, by its very nature, is madness. The colorful, varied, and sometimes whimsical art on display did create an atmosphere very different from what we have grown accustomed to in our everyday lives. The replicas of South American villages in juxtaposition with the large, colorful, geometric shapes transported the viewer to the mind of someone who had quite possibly lost it. The most notable aspect of this exhibit, for me, was how interactive it was. Unlike the countless galleries and exhibits with walls plastered in paintings, this exhibit demanded so much more than the viewer’s passive gaze. Many parts of it invited you to come in and become part of the exhibit itself.
This particular room contained nothing but a wall with a projection, a rack of avant garde garnments, and a mirror that allowed visitors to watch themselves transform into a work of art perfectly harmonious with the rest of the exhibit. It was aspects such as these that I believe made Oiticica’s work so effective at reaching us- the inevitable entanglement of his life with ours.
Other parts of this collection were clearly meant to bring aspects of life in Brazil to the heart of New York City (or wherever said collection would reside at the time). Tropicália invited museum goers to walk in pebbles and dirt through what appeared to be an epitomized, pop art version of the Brazil Oiticica had come to know. This, in conjunction with the slogan “Purity is a Myth,” which the artist has been noted to live by and appeared in various parts of the exhibit, made it clear that the art was a profound comment on the Brazil that its dictatorial political institution attempted to appeal to. Other corners of the exhibit, such as the one pictured above, reduced the image of Brazil to a vague and empty shadow.
Similarly, a dark room full of staticky televisions such as this one called to mind the authoritative, yet mostly unimpressive role, that the media plays in politics and culture, which can be seen both in the environment and time period this art was from (Brazil in the late 20th century) and our lives today. In fact, the entire collection seemed to be an attempt to get viewers away from their televisions and into this environment that was so much more intellectually and creatively stimulating. While there was plenty of media in the exhibit, it was all meant to contribute to the overall message and transport the viewers to the environment imagined by the artist.
A few rooms with projectors were lined with mattresses and hammocks, demanding the viewers’ full immersion in the media. These atmospheric spaces were complete with speakers that surrounded the room, allowing dreamy music to accompany the almost psychedelic imagery, effectively putting the viewer in a state of artificial delirium. Overall, this exhibit transported me to a place I never would have created in my mind otherwise, truly epitomizing the role of art.
Veronica Funk
Upon reading the review Cool Heat on this exhibit, I developed a much better understand of the historical context of both Oiticica and his art. One particularly interesting aspect of this article revealed that in the past, Oiticica had tampered with the exhibit itself in order to turn some part of it into “walk in paintings.” This was especially interesting to me because it emphasized his desire to bring the art into the viewer’s life, or rather, the viewer into the art itself. This sentiment was very prevalent in what I saw at the museum. If I had read this article before my visit, I may have formulated more objectively “correct” interpretations of the art. The politics of his time (which I was largely unaware of) played a huge role in the intent and meaning of his art. However, the interpretation of art is one of the few things that SHOULD always remain subjective- one of the most beautiful things about art is that means something different to everybody, especially the artists. In final analysis, prior knowledge on a given subject matter may be useful in orienting oneself before and experience such as this one, but art can be appreciated with no knowledge at all.
I like the idea that we can turn into the art ourselves. Ever since the first day of this class, I have included humans into the definition of art. I can’t help but wonder if Oiticica was trying to also compare us to geometric shapes. If we as humans were to dress up in bright colors and be seen from satellite, then we could be compared to geometric shapes. I also think it’s interesting to see both parts of Brazil that Oiticica presented. We can see the bright and fun aspect very clearly. This is showing Brazil’s culture. Music and people that make it lively. However, there is also the shadowy part that you mentioned. It always shows the looming threat of danger during the war time in Brazil. It is so interesting to see such a subtle contrast.