Brazilian History: Lygia Clark

1042 Words Jul 8th, 2018 5 Pages
Lygia Clark’s work transcends her time and continues to become relevant in our post-modern world. Her work is recognized today as one of the founding bodies of Brazil and is important internationally. Her artistic path holds a position in the critical movement that changed the art world in the 1960’s and 1970’s. Clark’s work has continued to define our post-modern obsession with situation.

Lygia Clark’s work transcends her time and continues to become relevant in our post-modern world. Her work is recognized today as one of the founding bodies of Brazil and is important internationally. Her artistic path holds a position in the critical movement that changed the art world in the 1960’s and 1970’s. Clark’s work has continued to define
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Clark’s work does not reside in the spatial understanding of an object, it would now be accomplished in temporality, and an experience in which the art object would lose is object-ness and become a force affected by the world, distorting one’s subjective and object-based realities. Yet the work could still exist as an object, independent from the experience and those who approached it could remain merely viewers of the object. This understanding led Clark to avoid “fetishization” of the work as it resides in an institution and the work became focused on an event: an action that transforms the work.

It is important to state that the request of Lygia Clark’s work to involve the body as a primary element should not be mistaken with a request to simply manipulate the objects presented, as was common with works presented at the time. In their letters, both Lygia Clark and Hélio Oiticica insisted that their works differed from the others of their time. Even in our post-modern art world, it still seems logical to create that distinction. As is common in current art, the need for interactivity in the work requires that both the body manipulation the object and the object itself, in a relational form, requires that both be considered art objects. Basically understood, relationally based art defines the art object as the relation between the object
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