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DOCUMENTARY 80’

a project of Associação Cultural “O Mundo de Lygia Clark”, Walmor Pamplona and Carioca Filmes
INSTITUTION

The Cultural Association "The World of Lygia


Clark" is a nonprofit organization that seeks to
disseminate the life and work of Lygia Clark in
Brazil and the world, promoting and organizing
with partners events, publications and
exhibitions on the artist. In addition, developed
a pioneering and revolutionary process of
certification of works of the artist, which, in
almost its entirety, are parts not signed and
manufactured. Its performance valued the work
of Lygia Clark by inhibiting actions of forgery
and ensure the purchase and sale of authentic
pieces.

The Association was founded in May 2001 to


establish a register of works and all materials
related to the trajectory of the Artist. The
Association's mission is to disseminate
information on Lygia Clark through texts, photos
or any other media that emerge derived from
its creation as well as search and certify the
authenticity of the works of the artist.

In Cultural Association has currently a collection


of 6000 images and 15,000 pages of documents.
This collection works, above all, as a dynamic
file that is updated as new documents are
searched or created by the field of art criticism
or academics.

With letters and personal documents in


Portuguese, English, French, Spanish, German,
Italian and Japanese, the collection focuses the
idea of a broader study on the artistic activity
of Lygia, making the Cultural Association "The
World of Lygia Clark" reference for the study of
contemporary Brazilian art available to
researchers in Brazil and the world.
The role of this organization is to be the main
player of Lygia's ideas, to spread out the essence
of her proposals and to renew their effectiveness
as life stimulation, as the Artist herself would
like her work experienced.
Certification

Since its inception in 2001, the certification of


works by Lygia Clark is a necessary activity for
the registration, research and dissemination of
the work of the artist. Moreover, it is a guarantee
of security and certainty, no doubt about the
origin and authenticity of the work for collectors.

The Cultural Association "The World of Lygia


Clark" offers free certification of works. The
process is done with the evaluation of documents
submitted by the owner about the origin, history
of buying the work, technical reports, data from
the work and the owner.

The analysis of the certification process is based


on the documents of property of the works,
written by the Artist herself. If the work is not
identified in these lists, the owner is asked to
send the work to a qualified professional who
will make accurate chemical tests and the
identification of old materials.
Currently, the Association has about 560 works
certified, making your database a security
instrument for the realization of exhibitions.

The Association has the support of all collectors


of works by Lygia Clark to identify, certify and
disseminate the work of one of the most
important artists of Art History.
Exhibitions

Lygia creates new concepts, such as "organic


line," promotes interactivity with the audience
and gradually moves away from traditional media
of art. This concept of participation was what
the artist more deepened throughout his artistic
career, becoming one of its most striking
features, on which the scenario of national and
international art shows more interest.

Keeping alive the memory of Lygia Clark as well


as spread her work is the priority in the
Association since its founding. The organization
participated in dozens of exhibitions in Brazil
and abroad. Among them are:
The Art of Participation, SF-MoMa, San Francisco
(2008); Peripheral vision and Collective Body,
Museion, Bolzano (2008); Krobo/Clark, Lodz
Muzeum, Poland (2008); WACK! Art and the
Feminist Revolution, MOCA, Los Angeles (2007),
Washington (2008), Vancouver (2008);
Tropicália: a revolution in Brazilian Culture,
Museum of Contemporary Art, Chicago (2005);
Barbican, London (2006) and Bronx Museum of
the Art, New York (2006/07), MAM-Rio, Brazil
(2008); Lygia Clark, da obra ao acontecimento:
somos o molde, a você cabe o sopro..., Musée
des Beaux-Arts, Nantes (2005) and Pinacoteca
of São Paulo, Brazil (2006); Pulse: Art, Healing
and Transformation, ICA, Boston, (2003); Brazil:
Body and Soul, New York, Guggenheim Museum
(2001); 7th International Istanbul Biennial -
Special room, Istanbul (2001). Pensamento
Mudo, Dan Galeria, (2004). 50 Jahre/Years
DOCUMENTA: 1955-2005, Kunsthalle
Fridericiaum Kassel (2005). Artists' Favourites,
ICA - London, (2004). Soto: a construção da
imaterialidade, CCBB - Rio and Brasília, Instituto
Tomie Othake (2005).
Publications

Several texts about Lygia Clark are made, either


an analysis of a phase, or a deep investigation
on her trajectory. Therefore, all research material
is important to spread the memory of Lygia Clark.

For maintaining the research and preservation


work, as well as the administrative operations
of the Cultural Association, fees are charged for
the use of image rights, to institutions that seek
association with the interest in disclosing the
artist's work, through projects with commercial
purposes.

Below are some publications that had the


support of the Cultural Association for their
edition:
Elles@centrepompidou, Juan Vicente Aliaga
(2009). Woman Artists, MoMA (2009). The Body
in Contemporary Art, Thames&Rudson (2009).
Understanding Art, Nelson Education (2008).
PRATES, Valquíria; SANT'ANA, Renata. Lygia
Clark: linhas vivas. São Paulo: Paulinas, 2006.
FERREIRA, Gloria; COTRIM, Cecília (org.). Escritos
de artistas: anos 60/70. Rio de janeiro: Jorge
Zahar, 2006. FARINA, Cyntia. Arte, cuerpo y
subjetividad: estética de la formación y
pedagogía de las afecciones. Thesis. University
of Barcelona, 2005. GUIGON, Emmanuel; PIERRE,
Arnauld. L`oeil moteur: art optique et cinétique,
1950-1975. Strasbourg: Musée d`Art moderne
et contemporain, 2005. DE SALVO, Donna. Open
systems: rethinking Art, c.1970. Londres: Tate,
2005. HOFFMANN, Jens; JONAS, Joan. Perform.
Londres: Thames & Hudson, 2005. BRETT, Guy.
Carnival of perception: selected writings on art.
Londres: InIVA, 2004. 100 Brasileiros. Edited by
the Department of Communication of the Federal
Government, 2004. RAMIREZ, Mari Carmen;
OLEA, Hector. Inverted Utopias: Avant-garde art
in Latin America. Houston: Museum of Fine Arts,
2004. BOIS, Yve-Alain; KRAUSS, Rosalind et al.
Art since 1900: modernism, antimodernism and
postmodernism. London: Thames e Hudson,
2004. SUZUKI, Katsuo. Brazil: Body Nostalgia.
Tóquio: The National Museum of Modern Art,
Tokyo, 2004. GROSENICK, Uta. Women artists,
Mujeres artistas de los siglos XX y XXI. Colonia:
Taschen, 2001.
Research

Many are the anxieties caused by the work of


Lygia, not only plastic works that constitute its
history - many are the studies, both literary and
plastics, and many are the reverberations of her
work, such as exhibitions and thesis are produced
in several points of the world.

The Research sector of the Cultural Association


aims to catalog the complete works of artist and
establish a register of such works and all
materials related to them. The collections,
consisting of images and texts is organized to
facilitate the study of Lygia Clark.

Partners

The most recent retrospective of Lygia's work


was performed in conjunction with the Fundació
Antoni Tàpies, in Barcelona. A large exhibition
was inaugurated in 1997 at the Foundation itself.
Then went to the Museum of Marseille (1998),
Oporto Museum (1998) and Société des
Expositions du Palais des Beaux-Arts, Brussels
(1998).

The show season ended the Imperial Palace in


Rio de Janeiro, between December 1998 and
February 1999, gathering more than 30 thousand
people, a number considered a record. The
partnership also generated a catalog of about
500 pages in four languages with a circulation
of 9 thousand copies. Currently this publication
is over.

Since it was founded, the Cultural Association


participated and contributed in more than 70
exhibitions in Brazil and the world: Musée du
Calais (Calais, France), The Museum of Modern
Art Oxford (England), Solomon Guggenheim
Museum (NY), Ludwig Museum (Colony),
Akademie der Künste (Berlin), The Henry Moore
Institute (Leeds, England), Museo de Arte
Latioamericano de Buenos Aires, Museum of
Modern Art (Tokyo), Musée d'art moderne et
contemporaine (Geneva), Fundació Joan Miró
(Barcelona), MOMA (NY), Parque Ferial Juan
Carlos I (Madrid), Tate Modern (London),
Pinacoteca of São Paulo, Instituto Itaú Cultural,
Musée des Beaux-Arts de Nantes e Museum für
Völkerkunde Hamburg (German), Hiroshima
Museum of Contemporary Art, Museum of Fine
Arts Houston (USA), MCA Chicago (USA),
Barbican Center (London), ICA-London (England),
NMWA - Washington (USA), PS1 NY (USA), Lodz
Muzeum (Poland), Instituto Oi Futuro (Rio de
Janeiro), SF MoMA San Francisco (USA), MOT
Tokyo (Japan), Museion (Bolzano - Italy), Centre
Pompidou (France), Zacheta National Museum
of Poland, among other partners.

Exhibitions of Lygia Clark have already been


implemented in 29 countries and 114 different
cities, without counting those organized from
personal collections that are not reported to the
Association. The work of Lygia had a special
room at the Museum of Modern Art in Rio from
1999 to 2001. This period, 30% of the public who
attended the MAM had as main objective to see
the work of the artist.

A solo exhibition of Lygia Clark, held at the


Pinacoteca do Estado de Sao Paulo between
January and March 2006, received a total
audience of 47,570 visitors, of whom 2807 were
students, coming from 44 schools.

Among the institutions that have in their


collections works certified by the Cultural
Association are: 21st Museum of Contemporary
Art, Kanazawa (Japan), Autin Desdemond Fine
Art (England), Ella Fontanals Cisneros Collection
(USA), Marie-Josée Kravis - Stonecroft Associates
LLC (USA), MoMa Museum of Modern Art (USA),
Tate Modern (London), Fundacion Cisneros
(Venezuela), Centre Pompidou (France), Venice
Biennale, Coopel Collection (Mexico), Museo
Nacional Centro de Arte Reina Sofia (USA),
Walker Art Center (USA) and MMA São Paulo
(Brazil).
JUSTIFICATION

Importance of art in shaping the individual

There are many studies that show in Brazil and


abroad that the contact with art is
transformative for human beings. The
Guggenheim Museum launched a few years ago
a study that shows through research to be
beneficial to people encountering art, its
manifestations and its history.

The research tested and compared the


performance in intellectual abilities - such as
descriptive ability, critical and creative - of
adolescents participating in the program
Learning Through Art
(www.learningthroughart.org), which stimulates
the artistic learning in schools since 1970, with
the non-participants in the program created by
the museum.

According to the results, the students of the


Guggenheim Museum had superior performance
(more details about the study attached). The
survey indicated that students of the program
used more words to express themselves and
demonstrated higher intellectual abilities than
the group not participating in Learning Through
Arts.

“Basically, this study is a major contribution to


the field of art and museum education,” said
Kim Kanatani, the Guggenheim's director of
education. “We think it confirms what we as
museum education professionals have intuitively
known but haven't ever had the resources to
prove.”

In Brazil, Geraldo Ferraz in "Retrospective:


Figures, roots and problems of contemporary
art." (Sao Paulo: Cultrix / Edusp, 1975), asserts
that "art, by evoking the spirit of unrest, and
natural necessity man's instinctual to exhaust
their emotional state is also suggested as a social
process, as it offered a means of communication
with our peers", as discussed in “Content playful,
expressive and artistic in formal education", by
Jacqueline C. Castilho Moreira and Gisele Maria
Schwartz (study attached).

Lygia Clark’s Exhibition at Pinacoteca, São Paulo, 2005 . Walking, 1963


The parameters of arts education curriculum, according to the researchers, affirm that it is possible
to develop awareness, imagination, emotion, sensitivity and thoughtfulness, when performing
artistic productions and interacting with different materials, tools and procedures.

The document also emphasizes the possibility of developing other content such as respect for
own production and colleagues, understanding and identification of art of different cultures and
times, observation and comparison of differences in artistic and aesthetic standards.

Conclusion: art in our lives is intended to make us partakers of the society in which we operate,
we can create, think, feel the world around us and we can express these aspects not only through
words but by other languages. Languages like the visual arts, dance, music, theater etc.

Nonprofit Event at MAC Niterói, 2004 . Goggles, 1968


Importance of Lygia Clark to humans

We live in a virtual world. Gradually, we lose first person


contact with the objective world. We change the TV
channels, talk on cellphones and withdraw money through
powerful forces unseen. The virtual world, without limits,
is taking the place of the physical world in our lives. We
work, we live and have fun by screens, interfaces that
tell us what to do and guide us where we want to reach.

According to Clark, the art needed to be at the service


of the liberation of the human being that now exists in
cells, communities, online profiles. Lygia was ahead of
its time, today is clear. Shared by transforming the body
of another in the object of her art long before Web 2.0,
where the agenda is to share. The artist gave the art
object in the hand of her partner and established that
"art is its act." She founded the art participatory,
interactive and shared since then.

Lygia unlocked the gates of the subconscious through


her art and proposed it as transcendental artistic
expression. Sensory and relational objects, among many
other artifacts, opened a direct channel with the original
interior (self, in the jargon of Lygia), creating a state of
revealing and liberating self-knowledge.

The legacy of Lygia Clark today is the antidote to the


poison of modernity, which has depression and stress as
pandemics. Makes actual physical contact a shelter and
the revelation of self and other. Turns the human contact
into the shelter we seek in the virtual world but, in fact,
can't find there.

Lygia Clark’s Exhibition at Pinacoteca, São Paulo, 2005 . Walking, 1963


Experience with the work of Lygia Clark
awakens the individual identity for
investigating bodily sensations and memories
that it causes. This experience provides an
understanding of art and ensuring their
incorporation in the everyday as a way of
supporting the process of building a cultural
identity.

Discover who we are and seek to understand


the mode of being of others are the first steps
that we can interact with respect. The artist
always stood as a researcher, exploring the
limits of the relationship between art and
audience, involving people in a deeply
interactive process of creation.

Diagnosis: more recognition abroad than in


Brazil

Given the established importance of the arts


and Lygia for the formation of a more prepared
intellectually and emotionally balanced, there
is a sad and paradoxical reality. Lygia Clark
and her work are still little known by the
Brazilian, in comparison with foreign
audiences. Even the Cultural Association "The
World of Lygia Clark" estimates that more
than 70% of researchers who access the
institution to gather information on the Artist
come from outside Brazil.

Partner institutions and collectors around the


world recognize the importance and value of
Lygia Clark, stating that the experience with
her work encourages the personal and social
development and contribute significantly to
understanding the function and content of
art, contemporary punctually. At the same
time, on Brazilian soil, Lygia is limited to
academic debates and criticism of art, with
little penetration among the general public.

Lygia Clark at School, CuriosaIdade School, Rio de Janeiro, 2005 . Crab, Creature, 1960
The importance of the film

It is clear until here that a documentary film about Lygia Clark's


career and work will cause a great impact on the spectators.
The benefits include not only the richness of art experience
but also the development of an updated point of view about
the world we live in.

Having the name associated to Lygia Clark's, her work and


proposals has been a superior experience to several partners
as museums, galleries, schools and collectors. Spreading Lygia
is essential to the building of a better world, more tolerant
and intelligent.

Information processing and the highest level cultural experience


are attributes of a good concept, brand or institution, not to
mention the importance of humanistic actions aimed at
broadening the knowledge on this great value of Brazilian
visual arts.

Nonprofit Event at MAC Niterói, 2004 . Elastic Net, 1974


Differential

What makes this documentary film a necessary


and singular work is the peculiar Lygia Clark's
work itself. Unlike traditional documentaries,
this film will not be based solely on the
testimonies, archives and collections to show
the artistic production and the trajectory of the
artist.

It goes further, accomplishing the experience of


Lygia's proposals, works that surpassed the limits
of frames and objects to directly engage the
human body and become individual and
collective rituals in search of harmony and self-
knowledge.

These proposals, such as Lygia called them, cause


unique experiences that will be reconstructed
for the cinematographic lenses, creating a
narrative, emotional and visual unique
documentary film language. That is, the movie
will be a unique experience for its viewers.

Lygia Clark’s Studio, Paris, 70’s . Elastic Net, 1974


OBJECTIVES

General Objective

Disseminating the life and work of the artist Lygia Clark


in Brazil and worldwide, contributing to the artistic
development of the brazilians and amplifying national
knowledge on contemporary art.

Specific Objective

Making a documentary of 80 minutes duration on the


life and work of Lygia Clark, a unique trajectory in the
history of world art.

Experience conducted near Sorbonne University, Paris, 1975 . Collective Head, 1975
SCRIPT

1. Propositions specially filmed for the documentary

Filming will take place in a studio with full control of light and
sound. The propositions will be held normally without any worry
actors to pose for the lenses. The opposite will happen: the lens,
the film's narrator, will move 360 degrees around the
propositions, with framing options and speed of movement. High
contrast photography and costume neutral will value the action
of the propositions.

Microphones will be placed on the actors while they are


experiencing a proposition. Cameras with the view of the actor
will be used in propositions like "The house is the body" and
"Tunnel". A third camera will be placed on plongée (diving) to
the point of view perpendicular to the propositions, face to face
with the person lying down who is experiencing it.

The intention is to bring the viewer as part of experiential work.

2. Text

Almost in its entirety the text is that


of Lygia Clark, in her letters, notes and
unpublished diaries, written by herself.
This is a story told by first-person
protagonist.

Lygia Clark Exhibition, Paço Imperial, Rio de Janeiro, 1986 . Collective Body, 1986
3. Testimonials

The film will record the testimony in Rio, São Paulo and Belo Horizonte to help rebuilding
Lygia: friends, partners in work and family. In addition to interviews with international
Yve-Alain Bois, David Medalla and Guy Brett.

The documentary will hear the students of the Institute of Deaf and Dumb that Lygia
worked with in the 50's.

Will show also the testimony of the actors who participated in the propositions filmed
specially for the feature film about the experience they had.
Testimony will show her legacy for the Brazilian culture and its importance for
psychoanalysis.

Caetano Veloso, important Brazilian singer and composer, was her client. He will be heard.

Experience conduted at Sorbonne, 70’s . Baba Antropofágica, 1973


4. Archive

The film will have a large number


of photos of Lygia in every
moment of her life. This will give
richness and narrative rhythm in
editing.

5. Computer graphics /
trajectory of Lygia

The film will have an animation


to illustrate the artistic trajectory
of Lygia Clark. This animation will
be edited as tags to pass along
the film.

Lygia Clark’s Studio, Rio de Janeiro, 1984 . Estruturação do Self, 1976 a 1986
6. Lygia's voice/actress

The actress will keep the first person


narrative, since we are only using texts
written by her. Preparation work will be done
so that the actress manages to attract the
inflection and intent of Lygia when speaking.
The idea is to create a "cloud" where persons
board the world of Lygia by its own melody
and intention.

7. Lettering

When the text is not Lygia's but very necessary to the


narrative, lettering will be used coherent with the visual
identity of the film.

Class at Sorbonne, Paris, 1973 . Tunnel, 1973


8. Opening

The opening credits will be signed in


computer graphics that use the concepts
of planes and surfaces modulated and
organic line. With each signature, the
background changes, creating new
images, to be depicted from the
neoconcret work of Lygia.

As an option, we have "The house is the


body" covered by a camera with the view
of a person who is experiencing the
proposition. The viewer will "be born" to
the world of Lygia Clark, because it
reproduces birth.

9. Music

We will liberate the music Caetano composed for her: "If


you hold the stone.” Alexandre Kassin, music producer and
composer, takes care of the soundtrack and makes a remix
of the song by Caetano.

Exhibitiona at Vale do Rio Doce Museum, 2005 . The House is the Body, 1968
INDICATORS AND MEANS OF VERIFICATION

Indicators of amount achieved by the project

Number of viewers in cinema halls display released


by the National Agency for Cinema (Ancine) in
Brazil.

Number of spectators measured in exhibitions in


all of Clark exhibitions in Brazil and abroad. The
exhibition of the film is always indicated by the
Cultural Association "The World of Lygia Clark" to
all partners.

Number of viewers in cinema halls display abroad,


including in festivals.

Number of views of trailers and making of in social


media as Youtube, Vimeo and social networks.
Number of spectators at special exhibits for
students from public schools.

Indicators of quality achieved by the project

Critics experts in the mass media - press reviews, broadcast and cable
TV in Brazil and abroad.

Critics on the web, including spontaneous and not specialized by


personal blogs and other individual platforms (Twitter, Facebook etc)
in Brazil and abroad.

WC - Lygia Clark’s Diary, Non profit event, Oi Futuro, Rio de Janeiro, 2007 . Elastic Net, 1974
CRONOLOGY

1920. Born in Belo Horizonte on 23 October.

1954/1956. Rio de Janeiro. Takes part in Group


Front, led by Ivan Serpa and formed by Helio
Oiticica, Lygia Pape, Aluísio Coal, Álvaro Siza
Vieira, Franz Weissmann, Palatnik, among
others.

1954/1958. Rio de Janeiro. Performs the series


"modular surface" and "Counter-Reliefs".

1958/1960. New York. Receives the


Guggenheim International Award.

1959. Rio de Janeiro. She is one of the founders


of the Neoconcreto Group.

1960. Rio de Janeiro. Teaches fine arts at the


National Institute of Education of the Deaf.

1960/1964. Rio de Janeiro. Created the series


"Creatures", geometric metal constructions
that are articulated by hinges and require the
participation of the spectator.

1964. Rio de Janeiro. Creates the proposition


"Walking", cut in a Moebius strip practiced by
the participant.

1966. Devoted herself to the sensory


exploration in works like "The House is the
Body."

1969. Los Angeles. Participates in Symposium


on Sensory Art.

1970/1975. Paris. She teaches at the Faculté


d'Arts Plastiques St. Charles, at the Sorbonne,
and her work converges to creative experiences
with emphasis on the sense group.

1978/1985. Rio de Janeiro. Passing to devote


herself to study the therapeutic possibilities of
sensory art, working with relational objects.

1982. Sao Paulo SP. Gives a lecture on "the


therapeutic method of Lygia Clark", with Luiz
Carlos Vanderlei Soares, in Tuca.

1983/1984. Rio de Janeiro. Publishes "Book-


Work" and "My Sweet River".

1988. Dies in Rio de Janeiro.


TO BE CONSIDERED

Director's view

We live in a virtual world. We left, slowly, to have


first person contact with the objective world. We
change the TV channels, talk on cellphones and
withdraw money through powerful forces unseen.

The virtual world, without limits, is taking the place


of the physical world in our lives. We work, we live
and have fun by screens, interfaces that tell us what
to do and guide us where we want to reach.

Disturbed by the speed of this new world, we share


our follies through networks and social media, we
seek strength in the divine invisible power - religions,
sects, rituals - and woke up every day with the
outstanding information that proliferates without
stopping.

Lygia Clark’s Studio, Rio de Janeiro, década de 80 . Sensorial Masks, 1967


The invisible forces of the online world can
bring us great freedom (virtual), but can also
oppress us: we live in fear of invisible enemies
alike: Virus (computer or not), bacteria,
burglars, terrorists. We live in a safe locked,
maintaining contact with the entire planet
through electronic windows.

Overwhelmed, afraid and confused, feel the


need to express, we shouted war cries in
hanks, we exhibit in webcams, we talk about
ourselves for hours in chats and transform the
body into a billboard for our opinions.

Subtly insane, instant relief sought in drinks


like mystical daime, abused drugs, licit or not,
and frenzied dance to the rhythm of drums
(samba, Candomble, Afroreggae, Stomp).

Lygia Clark’s Studio, Rio de Janeiro, década de 80 . Sensorial Masks, 1967


We got to paint the face (street
demonstrations, sports arenas, carnival).
Finally, we try to simulate the lives of ancestors
who lived in a simpler world, easy to
understand: enough food and protect the tribe.
That is, the primitive, today, gives us relief.

Lygia knew. Her thoughts kept this secret


hermetic: the art needed to be at the service
of the liberation of the human being that now
exists in cells, communities, online profiles.

Truly free, Lygia was ahead of her time, today


is clear. Shared by transforming the body of
another in the object of her art long before
Web 2.0, where the agenda is to share.

Lygia Clark’s Studio, Rio de Janeiro, década de 80 . Sensorial Masks, 1967


The self imposed non-artist gave the art object in the hand
of her partner, as in "Walking," and established that "art is
her act." She founded the art participatory, interactive and
shared since then.

Lygia unlocked the gates of the subconscious through her


art and proposed it as transcendental artistic expression.
Sensory objects, relational ones, among many other artifacts,
opened a direct channel with the original interior (self, in
the jargon of Lygia), creating a state of self-knowledge and
revealing, so liberating.

Lygia Clark’s Studio, Rio de Janeiro, década de 80 . Sensorial Masks, 1967


The World of Lygia Clark today is the antidote to the poison of
modernity. Makes actual physical contact a refuge and revelation of
self and other. It's more cathartic and legitimate than a thousand
words spoken in the classical psychoanalytic therapy. Turns the human
contact into a shelter that we seek in the virtual world and can't find.
Our concept is a documentary feature film that reconstitute life and
work of Lygia. Her creativity, experimental talent and humor give
invaluable raw material for a narrative marked by the actions and
proposals for Clark, performed for the main narrator lenses capture
- eye of the beholder.

Lygia Clark’s Studio, Rio de Janeiro, década de 80 . Sensorial Masks, 1967


We believe that the film not only fulfills the
role in order to perpetuate the historical
audiovisual Lygia Clark, as well as artistic
expression spreads extremely current and
consistent with these times we are always in a
hurry.

Reset Lygia Clark is restart the world. Reset the


world is restart Lygia Clark.
Called Lygia Clark, this film is all about.

Walmor Pamplona, February 17 of 2009 (23h23) @ LygiaClark.blog

Lygia Clark’s Exhibition, Paço Imperial, 1986 . Sensorial Masks, 1967


Concept

Lygia had a life governed by the


subconscious research as a result of her
creation.

All her moments (of life) were punctuated


by a childbirth creative milestones of her
experiences. Her existence is not outlined
when studying her neura but conversely
found her fabulous exploratory attempt in
the internalization established general at
the time, through rules, definitions,
formulas and theorems pre-established.

Lygia Clark Exhibition at, Signals Gallery, London, 1965 . Planes in Modulated Surfaces, 1957 - Linear Egg, 1958 - Creature, 1960
This "journey" is intrinsically linked to her evolution from creation,
from her early studies (academics), through her lectures in Paris (Aspase
and Fernand Léger), breaking the stillness of the artwork (break frame),
creating the organic line (in order to create the movement of works of
art hitherto static), plans for modulated surfaces (so that the work had
a chance to be with its own two-dimensional movements), relief and
against relief, when work really enjoyed its two-dimensionality, the
cocoons that actually reached the three-dimensionality with their
hollow interiors, and when they finally fell to the ground and turned
into mobile sculptures (Creatures) articulated.

This was the moment that the viewer was given the right to effective
participation in the creative process, ie, Lygia transferred the authorship
of the work to the common individual, making clear her view that we
are all artists (creators) potential, since we are not restrained.

Lygia Clark’s Special Room, Bienal de Veneza, 1968 . Trepante, 1965


In the creation of Walking, this transfer is clearer than ever, the time she closes
her involvement as creator.

In her reverie by the attempt to "facilitate” contact between psychoanalyst and


patient, ultra difficult relationship considering the long years of treatment to
which she participated, created a link between the files of our sensory body and
her psychic problems, which today is a reality within the therapeutic studies.
Never tried the role of the therapist. Her mission was as a nurse who attends a
patient previously, with the sole purpose of supplying the basic medical information
to a query, ie, facilitating the diagnosis.

So let me be clear that in a documentary about Lygia her personal facts should
be linked to her achievements in various fields of creation, because the links are
obvious.

Alvaro Clark, president of “The World of Lygia Clark” Cultural Association


February 26 of 2009 (19h09) @ LygiaClark.blog

Air and Stone, 1966

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