Vermelho and the Sala Antonio Projection Room present Tentativa de aspirar ao grande labirinto [Attempt to aspire to the great maze], a 2013 video by Guilherme Peters.
The use of the “attempt” nomenclature in the work of Guilherme Peters always starts from a prediction of failure, be it historical, aesthetical or political. Without exceptions, the artist uses in these experiences the body as a tool to experience doctrines, ideas and concepts, including the human being within a certain perspective. This strategy was inaugurated by Peters in actions and photographs before being applied to the video.
Attempts relate to the idea of temptation, or vehement desire, of impulse. They begin from the desire to possess or reach a certain situation or object. For Peters, these impulses are linked to superlative conceptions of ideals
In Tentativa de aspirar ao grande labirinto, Guilherme Peters scrutinizes one of Helio Oiticica’s Metaesquemas through an animation created with technical drawing tools for 3D architecture projects. In the work, Peters also appropriates the text Brasil Diarréia, written by Oiticica in 1970, and presented in his book Aspiro ao grande labirinto (1986). The text points to the dilution of the Brazilian constructive elements in favor of a “deglutition” of everything that would be internal or external to the national culture.
In Peters’ work, a reproduction of a Metaesquema is gradually transmuted into space, making its forms rise as buildings and making its white spaces become circulation spaces. The “camera” travels through these paths, as in a virtual tour of a geometric city. For Oiticica, these geometric paintings presented the conflict between the pictorial space and the extra-pictorial space, preparing the overcoming of the framework that would follow in his work. The text by Hélio Oiticica criticizesa process of dilution of the Brazilian “character” and cries out for a critical position.
In the audio, Peters tries to read the text of Oiticica, but his dyslexia prevent the fluidity and comprehension of the text. His blandness draws us in and repels us as we accompany the text, in a mix of feelings for the narrator to reach the next part of the text or for him to stop, ceasing the annoying repetition of errors.
Vermelho and the Sala Antonio Projection Room present Tentativa de aspirar ao grande labirinto [Attempt to aspire to the great maze], a 2013 video by Guilherme Peters.
The use of the “attempt” nomenclature in the work of Guilherme Peters always starts from a prediction of failure, be it historical, aesthetical or political. Without exceptions, the artist uses in these experiences the body as a tool to experience doctrines, ideas and concepts, including the human being within a certain perspective. This strategy was inaugurated by Peters in actions and photographs before being applied to the video.
Attempts relate to the idea of temptation, or vehement desire, of impulse. They begin from the desire to possess or reach a certain situation or object. For Peters, these impulses are linked to superlative conceptions of ideals
In Tentativa de aspirar ao grande labirinto, Guilherme Peters scrutinizes one of Helio Oiticica’s Metaesquemas through an animation created with technical drawing tools for 3D architecture projects. In the work, Peters also appropriates the text Brasil Diarréia, written by Oiticica in 1970, and presented in his book Aspiro ao grande labirinto (1986). The text points to the dilution of the Brazilian constructive elements in favor of a “deglutition” of everything that would be internal or external to the national culture.
In Peters’ work, a reproduction of a Metaesquema is gradually transmuted into space, making its forms rise as buildings and making its white spaces become circulation spaces. The “camera” travels through these paths, as in a virtual tour of a geometric city. For Oiticica, these geometric paintings presented the conflict between the pictorial space and the extra-pictorial space, preparing the overcoming of the framework that would follow in his work. The text by Hélio Oiticica criticizesa process of dilution of the Brazilian “character” and cries out for a critical position.
In the audio, Peters tries to read the text of Oiticica, but his dyslexia prevent the fluidity and comprehension of the text. His blandness draws us in and repels us as we accompany the text, in a mix of feelings for the narrator to reach the next part of the text or for him to stop, ceasing the annoying repetition of errors.
