Hélio Oiticica and Neville D'Almeida - BRIC London Thursday, April 14, 2011 | Phillips
  • Provenance

    Galeria Fortes Vilaça, Sao 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

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

£15,000 - 20,000 


14 - 15 April 2011