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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

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

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

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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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