Hélio Oiticica and Neville D'Almeida - Latin America New York Tuesday, November 15, 2011 | Phillips
  • Provenance

    Galeria Fortes Vilaça, São Paulo

  • Literature

    C. Basualdo, Hélio Oiticica: Quasi-cinemas, Ostfildern, 2002, pp. 62–65, p. 146 (another example illustrated)

  • Catalogue Essay

    One of the lesser known aspects of Oiticica’s artistic development has to do with the nearly ten years he spent living in New York during the 1970s. During this time he experimented with the incorporation of cinematic principals into his art. The present lot comes from the Quasi-cinemas series and are know as the Cosmococas. The work was made up of 35mmslide projections, audio and a space architecturally modified through lighting, seating arrangements and, on one occasion, hammocks. The roots of these works can be found in the large-scale installations that Oiticica started in the late 60s, most significantly his famous Whitechapel installation Tropicalia. But their unique place, and by extension their importance, within late 20th-century art has to do with Oiticica’s assimilation of the tools and vocabulary of the then nascent experimental video art movement. The Quasi-cinemas were as engaging and ultimately as revolutionary as any other accomplishments of Oiticica’s remarkable output.



28/CC3 Marilyn from Cosmococa Program-in-Progress

1973. Printed in 2003.
Color coupler print, flush-mounted on aluminum.
30 x 44 7/8 in. (76 x 114 cm).
This work is from an edition of 12.

$22,000 - 28,000 

Latin America

14 & 15 November 2011
New York