Lygia Clark: O abandono da Arte, 1948-1988

Lygia Clark (Brazilian, 1920–1988). Óculos. 1968. Industrial rubber, metal, glass. 11 7/16 x 7 1/16 x 2 15/16″ (29 x 18 x 7.5 cm). © Courtesy of World of Lygia Clark Cultural Association. Photo: © 2014 Eduardo Clark.

Museum of Modern Art

New York

Lygia Clark: The Abandonment of Art, 1948–1988

10 de maio de 2014, 24 de agosto de 2014

Lygia Clark (Brazilian, 1920-1988). Clark’s proposition Ping-pong (1966) in use. The objects are Ping-Pong balls and a plastic bag. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

O Museu de Arte Moderna de Nova Iorque faz uma grande retrospectiva de arte dedicada à arte de Lygia Clark (Brasil , 1920-1988) é a primeira exposição abrangente na América do Norte de seu trabalho . Lygia Clark: o abandono da arte, 1948-1988 compreende cerca de 300 obras , que vão desde o final dos anos 1940 até o início de 1980 , incluindo desenhos, pinturas , esculturas e obras participativas.

The Museum of Modern Art’s major retrospective devoted to the art of Lygia Clark (Brazilian, 1920–1988) is the first comprehensive exhibition in North America of her work. Lygia Clark: The Abandonment of Art, 1948–1988 comprises nearly 300 works, ranging from the late 1940s to the early 1980s, including drawings, paintings, sculptures, and participatory works. 

Lygia Clark (Brazilian, 1920-1988). Relógio de sol (Sundial). 1960. Aluminum with gold patina. Dimensions variable, approximately 20 7/8 x 23 x 18 1/8” (52.8 x 58.4 x 45.8 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of Rafael Romero. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

Desenhada à partir de coleções públicas e privadas, incluindo o próprio MoMA, esta pesquisa está organizada em torno de três temas principais: abstração , Neo- concretismo , e o " abandono " da arte.

Drawn from public and private collections, including MoMA’s own, this survey is organized around three key themes: abstraction, Neo-Concretism, and the “abandonment” of art. 

Lygia Clark (Brazilian, 1920–1988). The Inside Is the Outside. 1963. Stainless steel. 16 x 17 1/2 x 14 3/4″ (40.6 x 44.5 x 37.5 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Adriana Cisneros de Griffin. © Courtesy of World of Lygia Clark Cultural Association. Photo: © Thomas Griesel

Cada um desses eixos ancora um conceito significativo ou uma constelação de obras que marcam um passo definitivo na carreira de Clark. Enquanto o legado de Clark no Brasil é profundo, esta exposição chama a atenção internacional para o seu trabalho .

Each of these axes anchors a significant concept or a constellation of works that mark a definitive step in Clark’s career. While Clark’s legacy in Brazil is profound, this exhibition draws international attention to her work.

Lygia Clark (Brazilian, 1920–1988). Planes in Modulated Surface 4. 1957. Formica and industrial paint on wood. 39 1/4 x 39 1/4″ (99.7 x 99.7 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund in honor of Kathy Fuld © Courtesy of World of Lygia Clark Cultural Association. Photo: © Thomas Griesel.

Ao reunir todas as partes da sua produção radical, a exposição pretende reinscrever -la em discursos atuais de abstração , participação e uma prática da arte terapêutica.

By bringing together all parts of her radical production, the exhibition seeks to reinscribe her into current discourses of abstraction, participation, and a therapeutic art practice.

Lygia Clark (Brazilian, 1920–1988) in her studio, Rio de Janeiro, c. 1950s. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

Lygia Clark treinada no Rio de Janeiro e Paris a partir de finais dos anos 1940 a meados dos anos 1950 foi uma artista abstrato líder na vanguarda do movimento Neo- concretista no Brasil , promovendo a participação ativa dos espectadores através de suas obras.

Lygia Clark trained in Rio de Janeiro and Paris from the late 1940s to the mid-1950s and was a leading abstract artist at the forefront of the Neo-Concretist movement in Brazil, fostering the active participation of spectators through her works. 

Lygia Clark (Brazilian, 1920-1988). Clark’s proposition Estruturas vivas (Live structures), 1969, in use, probably in Paris in the early 1970s. The object is made out of knotted rubber bands. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

A partir do final dos anos 1960 até os anos 1970, ela criou uma série de obras de arte não convencionais em paralelo a uma terapia psicanalítica demorada, levando-a a desenvolver uma série de proposições terapêuticas fundamentadas no arte.

From the late 1960s through the 1970s she created a series of unconventional artworks in parallel to a lengthy psychoanalytic therapy, leading her to develop a series of therapeutic propositions grounded in art. 

Cover of Lygia Clark: The Abandonment of Art, 1948–1988, published by The Museum of Modern Art, 2014.

Clark se tornou uma grande referência para os artistas contemporâneos que lidam com os limites de formas convencionais de arte. 

Clark has become a major reference for contemporary artists dealing with the limits of conventional forms of art.

Lygia Clark (Brazilian, 1920–1988) in her studio working on Arquitetura biológica II (Biologic architecture II). Cité internationale des arts, Paris, 1969. Photo credit: Alécio de Andrade. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

Organizada por Luis Pérez-Oramas, The Estrellita Brodsky Curadora de Arte Latino-Americana, MoMA; e Connie Butler, curadora-chefe, O Museu Hammer; com Geaninne Gutiérrez-Guimarães, Assistente Curatorial, e Beatriz Rabelo Olivetti, Assistente Curatorial do Departamento de desenhos e gravuras, MoMA. 

Organized by Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin American Art, MoMA; and Connie Butler, Chief Curator, Hammer Museum; with Geaninne Gutiérrez-Guimarães, Curatorial Assistant, and Beatriz Rabelo Olivetti, Curatorial Assistant, Department of Drawings and Prints, MoMA.

Lygia Clark (Brazilian, 1920-1988) wearing Máscara abismo com tapa-olhos (Abyssal mask with eye-patch, 1968), a work made of fabric, elastic bands, a nylon bag, and a stone. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.

Grande apoio para a exposição foi fornecido por Ricardo e Susana Steinbruch, do Fundo das mulheres modernas, Patricia Phelps de Cisneros, Jerry I. Speyer e Katherine G. Farley, Vicky e Joseph Safra Foundation, ea Diane e Bruce Halle Foundation.

Major support for the exhibition is provided by Ricardo and Susana Steinbruch, The Modern Women’s Fund, Patricia Phelps de Cisneros, Jerry I. Speyer and Katherine G. Farley, Vicky and Joseph Safra Foundation, and the Diane and Bruce Halle Foundation.

Lygia Clark (Brazilian, 1920-1988). Clark’s proposition Diálogo de mãos (Dialogue of hands, 1966), in use probably by Clark and Hélio Oiticica. The object is made of elastic. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.



Lygia Clark (Brazilian, 1920–1988). Superfície modulada no. 9 (Modulated surface no. 9), 1957. Industrial paint on wood, 13 x 36 5/8” (33 x 93 cm). Collection Andrea and José Olympio. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.



Lygia Clark (Brazilian, 1920-1988). Trepante, versão 1 (Climber, version 1), 1965. Aluminum. Dimensions variable, overall approximately 103 9/16 x 57 ½” (263 x 146 cm). Jones Bergamin. Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.



Lygia Clark (Brazilian, 1920-1988). Relógio de sol (Sundial). 1960. Aluminum with gold patina. Dimensions variable, approximately 20 7/8 x 23 x 18 1/8” (52.8 x 58.4 x 45.8 cm). The Museum of Modern Art, New York. Gift of Patricia Phelps de Cisneros in honor of Rafael Romero. Photo: Jonathan Muzikar.

Lygia Clark (Brazilian, 1920–1988). Planos em superfície modulada no. 2, versão 01 (Planes in modulated surface no. 2, version 1). c. 1957. Industrial paint on wood, 31 ½ x 26 3/4″ (80 x 68 cm). Luiz Paulo Montenegro Collection. Photo credit: Eurides Lula Rodrigues Cardoso, Courtesy Associação Cultural “O Mundo de Lygia Clark,” Rio de Janeiro.