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The second, by Escosteguy was the launching of an interplanetary rocket with a countdown and all that. The
countdown initiated at 10, and when reached 0, instead of the rocket rise, jumped up from within a kite.
The third part, mine was an attempt to place ourselves, the Brazilian man, underdeveloped. Participants ar-
rived with a suitcase, from where withdrew posters that were placed upon a black wall at the back. The first
poster read: “How is Man?” Then appeared a manikin representing the male gender and in its chest was a
heart with the words: “No animal fat.” Second poster: "What man eats?" and appeared a menu bar (dishes
made) and a portrait of a pin-up. Third poster: “Man is what he eats?” And, came out of the belly of the mani-
kin another poster, which was exposed to the viewer: “Undernourished”. Emerged either, from the manikin's
belly little sachets of water and plastics of color suggesting its guts. Fourth poster: “Man is a rational animal?”
And working tools were taken from the belly of the manikin. Fifth poster: “How is the animal?” Then appeared
a pink pig, and behind from him the no less famous idol from TV and of the masses: our Chacrinha
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with his
hooters in shape of horns, which was immediately crowned with onion braids. Screaming “What do people
eat?” beans rained from the ceiling on viewers attentive and eager of sensationalism.
After this exhibition, as a result of being not organized and with theories of group, personnel dispersed, con-
tinuing its participants, however, to exhibit together but disorderly; went to Belo Horizonte and São Paulo.
An important fact, still connected to the G-4, was the exhibition of Hélio Oiticica, who had an enormous im-
pact among the younger artists. With its environmental manifestation Oiticica gave a totally new dimension
to the movement. Of this season, date the beginning of the filming “Ver e Ouvir” by Antonio Carlos Fontoura,
with photography by David Zingg. The film is split into three parts. First, “Um Jogo de Espelhos” by Roberto
Magalhães. Second, “Preparação para um Contra-Ataque” by Antonio Dias. Third, “Os Desconhecidos” by Ger-
chman. Courageous movie; made by a young man about three young painters. Fontoura filmed it on 35mm
with 18 minutes of duration and in colors, performing an experience that I consider all-important. “Os Desco-
nhecidos” was almost entirely filmed in the street with paintings and objects on the sidewalk, in the middle of
traffic, people, with direct sound interviews and using the technique of reality movie. For me, this experience
was vital. Regarding the way of looking at the paintings and objects made by then, I had to revise my points
of views, after this contact frommy work with the street.
Still in G-4, I presented “A Marmita” which for me was the first attempt at a form of greater participation by
the viewer, by suggesting that he held the handle of the utensil. Also, “O Ônibus” that there I exposed, sugges-
ted that drove them – the vehicle. I establish a line of thought up to “O Altar” exhibited in “Nova Objetividade”,
where the viewer is forced to kneel down to perceive the object as a whole. In the same sense, I sent for the
Bienal de São Paulo two works; “Sempre Perto de Ti” – where there is a bank for a couple of spectators to sit,
and behind a large red heart with the title words; couples who sit on the bench may be photographed for a
“lambe-lambe” that will be available to interested ones – and “A Cidade” - in which viewers, in number of two,
enter in each shelter house, totally plastic and in number four; inside the shelter, of lightweight structure that
can easily be displaced by the couple, one can see the outside world through a plastic visor. The four units'
action takes place inside a square of 4.20 x 4.20 m, in yellow and black plastic.
Well, I tried to say here what I think of me and about the work I do at the moment. But I do not desire with this,
to establish definitive concepts that result in self-limitations since I redo daily what I think.
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José Abelardo Barbosa de Medeiros (Surubim, 1917-1988), the Chacrinha (get-together) was a great communicator of radio and
television in Brazil.