OPAVIVARÁ!
Batuque na Cozinha | Drumming Kitchen, 2015
suporte de alumínio, borracha, panelas
[aluminum bracket, rubber, aluminium pans]
[aluminum bracket, rubber, aluminium pans]
65 x 60 x 85 cm [25 5/8 x 23 5/8 x 33 1/2 in]
5.5kg
5.5kg
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'Batuque na cozinha' (2013/2017) é um instrumento vestivel, composto por utensílios básicos de cozinha, como frigideiras, panelas, chaleira, etc. Inspirado nos desfiles do Carnaval brasileiro, os instrumentos de percussão são...
"Batuque na cozinha" (2013/2017) é um instrumento vestivel, composto por utensílios básicos de cozinha, como frigideiras, panelas, chaleira, etc. Inspirado nos desfiles do Carnaval brasileiro, os instrumentos de percussão são substituídos pelos utensílios de cozinha e tocados pelo usuário em um ato remanescente da celebração e do protesto. Do teatro radical de José Celso Martinez Corrêa e Augusto Boal às esculturas parangolés de Hélio Oiticica e às intervenções multissensoriais de Lygia Clark, esta peça pode ser localizada dentro de uma genealogia de artistas brasileiros, da década de 1960 até o presente, que trabalharam para absorver a arte com um local distinto e um ethos desmaterializado.
"Batuque na cozinha" (2013/2017) is a wearable instrument, composed of basic kitchen utensils, such as frying pans, pots, kettle, etc. Inspired by the Brazilian Carnival parades, the percussion instruments are replaced by kitchen tools and played by the user in a remnant act of celebration and protest. From the radical theater of José Celso Martinez Corrêa and Augusto Boal to the parangolé sculptures of Hélio Oiticica and to the multi-sensorial interventions of Lygia Clark, this work can be located within a genealogy of Brazilian artists, from the 1960s to the present, who have worked to absorb art with a distinct local and a dematerialized ethos.
"Batuque na cozinha" (2013/2017) is a wearable instrument, composed of basic kitchen utensils, such as frying pans, pots, kettle, etc. Inspired by the Brazilian Carnival parades, the percussion instruments are replaced by kitchen tools and played by the user in a remnant act of celebration and protest. From the radical theater of José Celso Martinez Corrêa and Augusto Boal to the parangolé sculptures of Hélio Oiticica and to the multi-sensorial interventions of Lygia Clark, this work can be located within a genealogy of Brazilian artists, from the 1960s to the present, who have worked to absorb art with a distinct local and a dematerialized ethos.