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presented realistically, an image of football, another beautiful, and finally a poster-paint, which I called of
“Casal Fartura”.
There was commotion in “Opinião-65”. Called paintings of
poorly finished, urban folklore
and my closest peers
were afraid about my new need of real. The critics did not understand the “Casal Fartura” which burst open
two months later. However, was the first attempt to use the poster and the image of the newspaper or maga-
zine in a new context - the canvas, this sacred place.
Others still, felt that the problems presented were not from here, but Americans. At that time, was beginning
to speak in
Pop
, because of the case Rauschenberg, at the Bienal de Veneza
2
.
After “Opinião-65” I performed a much stranger painting, more resembling to a street-poster. It was “Homens
Trabalhando”, which sat on an easel. This painting had two sides, and the viewer had to revolve around it,
differing from traditional sculpture for not having a base as such.
By that time, began to appear the reliefs in my work. It is fascinating how such process would repeat itself in
my other work, “A Cidade”, consisting of a container – a bullet mold – whose various allocations, contained
several heads of dolls representing the residents of a collective house. In this “object”, the viewer’s behavior
was different since the bullet mold rotates to their impulse, and they stood.
The third greater significance fact was the exhibition “Pare”, in G-4, which featured a
happening
of three ar-
tists: Carlos Vergara, Pedro Escosteguy, and I. Was in this
happening
, my first experience in putting the viewer
inside a wooden structure, covered in transparent plastic, within in which they stayed stuck (the plastic was
then stapled) as in a cage. On the outside, I painted the plastic with color spray, making viewers disappear gra-
dually behind the colors. Finished the painting was finished the
happening
, and the viewers had to struggle, to
burst the wooden structure and free themselves. Nailed outside, there was a sign: “Elevador Social”.
“Pare”, the so-called exhibition was organized by David Zingg, who worked à bessa[sic] (extremely) until the
opening day in May 1966. The exhibition involved the participation of five artists – besides the three already
mentioned, whose made the
happening
, were also Roberto Magalhães and Antonio Dias that is all of the va-
rious individual formations.
The exhibition was inaugurated, or rather exploded with unprecedented publicity. I do not remember ever
seeing so many people in vernissage. Not sold almost anything, the criticism was omitted. Nonetheless held
an event that I consider of utmost importance, and which we decided to call
happening
for the lack of a better
expression.
The first, by Vergara, that forced the viewer to look through a hole in a white canvas hanging on the wall, had
the following words: “The painter paints; the painter makes you think. Look here.” Behind this hole located a
lower height off the ground (forcing the viewer into an uncomfortable and ungraceful position), it read so-
mething like this: “Instead of Mr. looking through this little hole in this ridiculous position, why do not look
around and think about the problems that are happening around you?” Large queues were organized to look
through the small hole because Carioca loves queues. And what could be read into the hole make many people
laugh and leave with their tails between their legs.
2
Robert Rauschenberg was awarded with the Grande Prêmio of XXXII Bienal de Veneza in 1964. (N.O.).