POPULAR CULTURE GOES TO THE MUSEUM: HÉLIO OITICICA’S TROPICALIA
Based on the idea of contemporary cultural manifestations as hybrid cultures, this article aims at understanding how a sense of brazilianity is structured being equally hybrid, and uses Hélio Oiticica’s work Tropicália (1967) for visual and aesthetic example. Interpreting popular culture as the resu...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2010 |
| País: | Brasil |
| Institución: | Universidade do Estado do Rio de Janeiro (UERJ) |
| Repositorio: | Textos escolhidos de cultura e arte populares (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.www.e-publicacoes.uerj.br:article/12147 |
| Acceso en línea: | https://www.e-publicacoes.uerj.br/tecap/article/view/12147 |
| Access Level: | acceso abierto |
| Palabra clave: | BRAZILIANITY HÉLIO OITICICA POPULAR CULTURE HYBRID CULTURES TROPICÁLIA. BRASILIDADE CULTURA POPULAR CULTURAS HÍBRIDAS |
| Sumario: | Based on the idea of contemporary cultural manifestations as hybrid cultures, this article aims at understanding how a sense of brazilianity is structured being equally hybrid, and uses Hélio Oiticica’s work Tropicália (1967) for visual and aesthetic example. Interpreting popular culture as the result of the double movement of resisting and containing, and considering the changes suffered by the most traditional aspects of culture as well as the transformations resulting from them on the globalizing world and its technical and scientific environments, the legitimacy of the referred work of art as popular art is not approached. Instead, the installation is seen here as part of popular Brazilian culture, a manifestation able to reveal symbolic, political and cultural issues as well as illustrate a hybrid brazilianity under construction. |
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