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The lecture for Nov. 8th was a very important one in that we took the
material of the course in directions beyond those that we had previously
followed. This lecture was, in a sense, a continuation of the class on
geometric abstraction. We observed how artists such as Edgar Negret in
Colombia and the Venezuelans Cruz Diez, Alejandro Otero and Jesus Rafael
Soto created work that dealt, in part, with an interest in geometry, but
experimented with in it much more free-form ways than had existed before.
The Kinetic art of Soto, for example, demands the participation visually
and, very often, physically. He creates installations, filling entire
rooms with his delicate wire filaments. These works are only 'completed'
once the viewer actually participates in them with the interaction of
their bodies. We also studied how Gego (Gertrudis Goldschmidt), a German
emigre artist, carried out this performative or participatory notion in an
even more fully developed sense, particularly in her piece called "Net"
("Reticularia") in the National Gallery, Caracas.
We then proceeded to discuss the situation in Brazil in the 50s and 60s.
The socio-economic status of the country was discussed as was Brazil's
particular open-ness to new and experimental forms of art, music,
literature and cinema. The discussion of the contributions of key figures
in the rise of the Neo-Concrete movements such as Sergio Camargo, Lygia
Clark and Helio Oiticica was a significant part of the lecture.
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