Brazil, a nation that absorbed a multitude of immigrants and forged a hybrid human culture, has captured the world’s attention. Perhaps most alluring is the art of Brazil, which celebrates life with vivid colors and dynamic organic and geometrical forms. Brazil is a society with no hierarchy of values, where everyone and everything is integrated, a society propelled from modern society by the energy to blend and transform in search of a different structure. This energy comes not from a dialectic process but from observation of life and the wisdom found there. In order to survive in the global chaos, the Brazilians have created an “alternative modernism” as a viable proposal for the 21st century.
Museum of Contemporary Art Tokyo (MOT) will introduce Brazil’s creative vitality through the works of 27 artists, fashion designers, and architects in an exhibition, When Lives Become Form. In the 1960s, an artistic movement arose in Brazil, “Tropicália,” which celebrated the “originality of the culture of people who live in the tropics.” Tropicália sought to escape the shadow of the West and create a uniquely Brazilian art culture. Its central figure, Hélio Oiticica, took inspiration from Brazilian favelas, “a product of fantastic improvisation in creating a ‘vital place’ for communicating not form so much as joy.” The Parangolés or wearable sculptures and pictures he created for samba dancers by combining colorful fabrics are perhaps symbolic of this. In the same period, Lina Bo Bardi fused modern architecture with local Brazilian conditions and reinterpreted architecture through her acute observation and understanding of the lives of local peop le. Bo Bardi can be considered the pioneer of programmed architecture.
Museum of Contemporary Art Tokyo (MOT) will introduce Brazil’s creative vitality through the works of 27 artists, fashion designers, and architects in an exhibition, When Lives Become Form. In the 1960s, an artistic movement arose in Brazil, “Tropicália,” which celebrated the “originality of the culture of people who live in the tropics.” Tropicália sought to escape the shadow of the West and create a uniquely Brazilian art culture. Its central figure, Hélio Oiticica, took inspiration from Brazilian favelas, “a product of fantastic improvisation in creating a ‘vital place’ for communicating not form so much as joy.” The Parangolés or wearable sculptures and pictures he created for samba dancers by combining colorful fabrics are perhaps symbolic of this. In the same period, Lina Bo Bardi fused modern architecture with local Brazilian conditions and reinterpreted architecture through her acute observation and understanding of the lives of local peop le. Bo Bardi can be considered the pioneer of programmed architecture.
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