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Unlike of
Cartilha no Superlativo
(Booklet in the Superlative) the
pocket stuffs
were small dimension objects.
I thought about small boxes that could be carried in the pocket. Marlisse Simons, journalist of the New York
Times, was the person who best summarized what was the
pocket stuff
.
“Pocket Stuff is to carry
A token poem, an open poem
A talisman to have, to rub, to open, to
close.
The box is a small universe that
reminds words
on a box.”
Hélio Oiticica also did a poem about
pocket stuffs
, but only the text of Marlissa Simons was included in the
circulation of 100 copies that I made in 1967. Unfortunately, most were destroyed in a fire in New York. Luckily,
survived 40 copies previously sold. These “pocket stuff” contained various boxes.
We can view them as objects, or rather, words-objects.
There was a black cube labeled “
white
” as well as a white cube written “
black
”. Besides others, such as “
sea
salt
” (a box containing salt and sand); “
sky
” (with cloud of cotton); “
men
” (three black cubes, one for each
letter); “
color
” (a rectangle with colored cylinders); “
sun
” (a yellow box, containing an acrylic circle and sand);
“
blood
” (a transparent box containing a red circle, like a drop of blood); “
herb
” (a transparent box full of grass
– and was not marijuana).
The art, especially in the decade of the ‘70s, leaves the cloistered, of its isolation as artistic expression, and
through the
happenings
begins to merge with the music, the cinema, with photography and the performing
arts. And you always tried to integrate in the miscellaneous expressions.
We used and dared with everything. Even in our own videos, the first ones I made with Lygia Clark, Hélio Oi-
ticica and Antonio Dias. Many were lost, but we have some that are preserved. Everyone used and abused of
Super 8 film. Like someone said at the time, was “the finger that sees”.
Actually you had a fabulous avidity towards all technological changes, the world was changing, nurtured a
new image.
Before of a being friend of painters and admitted in Escola de Belas Artes, I had poet friends, for whom I pro-
duced the covers of their books. I did the first book of Armando Freitas Filho, whom I consider a brother, called
Palavra
. I started to play with this name, make a concretism inspired by their wisdom. They were poets and I
was the friend of the poets.
Ferreira Gullar had a large presence at this time. Had he any relation with you?