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not come out.
Lindonéia
gained life of its own, became a song. Mário Pedrosa said that she was the
Mona Lisa
from the suburb. Ten years later had a sequel, which I called
Mona Lou
, was a character from the crime pages,
since it was not invented as
Lindonéia
. The
Mona Lou
was actually a character, who killed several persons with
the help of her lovers.
You start, deliberately, to behave towards the bad taste. You seek to explore the middle class viewpoint,
which indeed is not a class that excels for good taste. You worked a lot in that time with kitsch, perhaps
influenced by the ideas of Umberto Eco.
The idea is a little teaser, tinkering with a certain bourgeoisie’s arrogance, seriously to disturb. I performed the
Caixa e Cultura – o Rei do Mau Gosto
. It is the first time that appears butterfly wings and banana trees with
two parrots. I think that all this climate, when Hélio coins the term “tropicália” (Tropicalism) has to do with
those banana trees that after he put them in the entry.
Hélio Oiticica says in a statement that you would be his coauthor in the
Parangolés
. Is it true?
We did the
Parangolé Social
4
together. I helped to make many tracks, including
Estou Possuído
and
Mergulho
do Corpo
. I did the letters and helped to paint.
At this time arose the interest in sensory experiences, some artists are interested in the psychological
processes, is when Lygia Clark adopts a new artistic attitude and takes on a more prominent role, including
for your work. You start doing the penetrable and the shelters.
It is true. Lygia and Hélio were fantastic friends of mine. Lygia told me a phrase that I never forgot: “Everything
that I deny you affirm”. She was always so kind to me, put on those little houses that I presented at the
IX
Biennial of São PauIo
, in 1967. I also expounded
O Altar: Agora Dobre os Joelhos
and said, “Lygia you must get
into the work, enter on your knees”. It is a tribute to women. For you to see reflected in the work.
Was there an intercourse between these two works from the experiences of Lygia and Hélio?
There was an influence of both of them because they highly spoke about the participation of the viewer in the
work of art. That came out to meet all our political ideas: take the viewer from the inertia to begin enjoying
the work of art. We are slightly a product of the new cinema, it was something that influenced me a lot.
Another theme that comes up a lot in that time and your actual work is the question of the eroticism. Once
again, you go to these urban romances. How do you see this?
It is a bit of adolescence memories germination, those furtive fondnesses. Yes because, today, we all look to
sex with freedom and tranquility, but in our time was a conquest. Having intimacy with a girl gave a lot of
work. I remember going out with an older cousin who drove the car and I was in the back seat. Thank God,
4
OITICICA, Hélio.
Parangolé Poético e Parangolé Social
. Available at:http://www.itaucultural.org.br/aplicexternas/enciclopedia/ho/
index.cfm?fuseaction=documentos&cd_verbete=4523&cod=236&tipo=2. (N.O.).