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Abstract

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Having its origin in the field of sociology and being as the basis of the brazilian socio-political formation, the term patrimonialism is used to denote the lack of distinction regarding the border between the public and private spheres. Among the consequences of this symbiosis would be the voiding of the idea of "public" as an instance that represents the collective interests of a population. In the field of visual arts, for authors such as Rodrigo Naves and Sônia Salzstein, the modern Brazilian art would be immersed in a kind of emotive background, a phenomenon that would represent this shuffle between the public and the private. For the authors, the intimate poetics of certain Brazilian artists would still be indicative of a certain difficulty in relating our art to the outside world. To analyze the issue, the main artist addressed is Hélio Oiticica, whose production would be, especially for Naves, a kind of icon of this process of interiorization that he identifies in modern Brazilian art. In the vision of Naves, the Oiticica's production , which begins with a clear constructivist vocation - which in turn would refer to the ideals of an "abstract" public space defended by modern ideals - would undergo a series of inflections that would lead to the manifestation of a subjectivity more and more radical, and which Naves understands as an attempt to isolate the outer world. After presenting these arguments are made some counterpoints, focused on the idea that the inflections of Oiticica's program would not necessarily be an "escape" from the real world, but an ethic-aesthetic-critic reorientation of its production, in an attempt to offer an art with a "public" vocation more appropriate to our context.

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Keywords

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Ambiguity; Art; Brazil; City; Institution; Patrimonialism; Public

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