Lygia Clark

Belo Horizonte, Minas Gerais State, 1920 –

Rio De Janeiro, Rio de Janeiro State, 1988

 

All of Lygia Clark's work questioned the support and art representation itself, eliminating forms related to the real world and the frame, highlighting the relationship between the artwork and space. For her, the area of the work of art should spread and go beyond the boundaries of the support.

 

Thus, starting in 1958, she created Contra-relevos and Casulos (Cocoons), fundamental steps to Bichos (Animals) formed by metal surfaces whose multiple movements are made possible by hinges interconnecting the parts. From that time on, all her works required the interaction of the spectator, marking a transition between constructive art and sensory practices. These works were included in the great retrospective devoted to the artist in MOMA, in New York, between May and August of 2014.

 

The artist began her art studies as a pupil of Burle Marx (1909-1994) in 1947. Three years later, she travelled to Paris, where she frequented ateliers of Fernand Léger (1881-1955), Arpad Szenes (1897-1985) and Dobrinsky (1891-1973). She held her first solo exhibition in Paris. When she returned to Brazil, she became part of the Grupo Frente*.

In 1959, she participated in the 1st Neo-concrete Art exhibition. She signed the Neo-concrete Manifest, together with Amilcar de Castro (1920-2002), Ferreira Gullar (1930), Franz Weissmann (1911-2005), Lygia Pape (1927-2004), Reynaldo Jardim (1926-2011) and Theon Spanudis (1915-1986).

 

*Grupo Frente was created in 1954 by Ivan Serpa (1923-1973) and included some of his pupils from Rio De Janeiro Museum of Modern Art. They were interested in geometric abstraction. Its first exhibition featured the following artists: Aluísio Carvão (1920-2001), Décio Vieira (1922-1988), Ivan Serpa, Lygia Clark (1920-1988), Lygia Pape (1927-2004), among others. Ferreira Gullar presented the event (1930). The participants were united by their rejection of Brazilian figurative and nationalist modernist painting.

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