Hélio Oiticica: The Body of Colour Symposium – Part 1: Introduction

Introduction by Gabriella Salgado, Curator of  Public Programmes at Tate

This symposium has been organised in anticipation of the forthcoming exhibition Helio Oiticica: The Body of Colour. It will explore the findings of new research into Oiticica’s artistic practice and the issues raised by this major exhibition.The sessions will also examine Oiticica’s life and his legacy, in particular with regards to his participatory practice which continues to influence contemporary art.

Supported by Ministério da Cultura do Brasil and University of Essex Collection of Latin American Art (UECLAA)

Hélio Oiticica: The Body of Colour Symposium – Part 2: Session 1: Michael Asbury

Hélio Oiticica: The Body of Colour Symposium – Part 3: Session 1: Wynne H. Phelan

Hélio Oiticica: The Body of Colour Symposium – Part 4: Session 1: Yve-Alain Bois

Hélio Oiticica: The Body of Colour Symposium – Part 5: Session 1: Panel discussion

Hélio Oiticica: The Body of Colour Symposium – Part 6: Session 2: Guy Brett

Hélio Oiticica: The Body of Colour Symposium – Part 7: Session 2: Susan Hiller

Hélio Oiticica: The Body of Colour Symposium – Part 8: Session 2: Briony Fer

Hélio Oiticica: The Body of Colour Symposium – Part 9: Session 2: Luciano Figueiredo

Hélio Oiticica: The Body of Colour Symposium – Part 10: Session 2: Panel discussion

Hélio Oiticica: The Body of Colour Symposium – Part 11: Session 3: Paulo Venancio Filho

Hélio Oiticica: The Body of Colour Symposium – Part 12: Session 3: Lisette Lagnado

Hélio Oiticica: The Body of Colour Symposium – Part 13: Session 3: Anna Dezeuze

Hélio Oiticica: The Body of Colour Symposium – Part 14: Session 3: Panel discussion

This symposium has been organised in anticipation of the forthcoming exhibition Helio Oiticica: The Body of Colour. It will explore the findings of new research into Oiticica’s artistic practice and the issues raised by this major exhibition.The sessions will also examine Oiticica’s life and his legacy, in particular with regards to his participatory practice which continues to influence contemporary art.

Supported by Ministério da Cultura do Brasil and University of Essex Collection of Latin American Art (UECLAA)