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Seja marginal seja herói

Hélio Oiticica's "Seja marginal seja herói" (Be an Outlaw, Be a Hero) was the phrase that synthesized a series of works that became known as "Marginalia" or "Cultura Marginal" (fringe or underground culture) during the decade of the 1970's.
During my trips to Brazil in 2011 and 2015 I visited several Favelas in Rio de Janeiro (Santa Marta, Complexo do Alemão, Cantagalo) and I was thrilled to discover Oiticica's image and words plastered on several surfaces around the geography of those communities. I had to do a photo documentation of that meaningful discovery.

Seja marginal seja herói is Hélio Oiticica’s vision: Marginalia, reborn in the Favelas of Rio de Janeiro: Santa Marta, Complexo do Alemão & Cantagalo.

Seja marginal seja herói santasombra victor ruano

Seja marginal seja herói santasombra victor ruano

Seja marginal seja herói santasombra victor ruano

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Seja marginal seja herói santasombra victor ruano

Seja marginal seja herói santasombra victor ruano

Seja marginal seja herói santasombra victor ruano

Seja marginal seja herói santasombra victor ruano

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Hélio Oiticica (Rio de Janeiro, 26 de julho de 1937 — Rio de Janeiro, 22 de março de 1980) foi um pintor, escultor, artista plástico e performático de aspirações anarquistas.

É considerado por muitos, um dos maiores artistas da história da arte. [1] [2]

Hélio Oiticica buscou a superação da noção de objeto de arte como tradicionalmente definido pelas artes plásticas até então, em diálogo com a Teoria do não-objeto de Ferreira Gullar. O espectador também foi redefinido pelo artista carioca, que alçou o indivíduo à posição de participador, aberto a um novo comportamento que o conduzisse ao “exercício experimental da liberdade”, como articulado por Mário Pedrosa. Nesse sentido, o objeto foi uma passagem do entendimento de arte contemplativa para a arte que afeta comportamentos, que tem uma dimensão ética, social e política, como explicitado no texto Nova Objetividade Brasileira, publicado em 1967 no catálogo da exposição homônima ocorrida no MAM-RJ.

O conceito “Supras sensorial”, que Oiticica desenvolve também de 1967, propõe experiências com a percepção do participador, investigando possibilidades de dilatamento de suas capacidades sensoriais – uma “supras sensação”, semelhante àquela causada pelo efeito de drogas alucinógenas ou pelo êxtase do samba. Poderia a arte atingir esse mesmo efeito? Segundo Oiticica, o supras sensorial levaria o indivíduo “à descoberta do seu centro criativo interior, da sua espontaneidade expressiva adormecida, condicionada ao cotidiano”[3]

Hélio Oiticica aspira à superação de uma arte conformista, elitista, condicionante, limitada ao processo de estímulo-reação, que se configura como instrumento de domínio intelectual e comportamental. Propõe, então, uma arte que busca uma abertura ao participador e do participador, através de experiências que promovam uma volta do sujeito a si mesmo, redescobrindo e libertando-se de seus condicionamentos éticos e estéticos, impelindo-o a um estado criativo em uma vivência suprassensível. Photography and concept by: Victor Ruano / Santasombra

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