Professional Documents
Culture Documents
a project of Associação Cultural “O Mundo de Lygia Clark”, Walmor Pamplona and Carioca Filmes
INSTITUTION
Partners
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.
Lygia Clark at School, CuriosaIdade School, Rio de Janeiro, 2005 . Crab, Creature, 1960
The importance of the film
General Objective
Specific Objective
Experience conducted near Sorbonne University, Paris, 1975 . Collective Head, 1975
SCRIPT
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.
2. Text
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.
5. Computer graphics /
trajectory of Lygia
Lygia Clark’s Studio, Rio de Janeiro, 1984 . Estruturação do Self, 1976 a 1986
6. Lygia's voice/actress
7. Lettering
9. Music
Exhibitiona at Vale do Rio Doce Museum, 2005 . The House is the Body, 1968
INDICATORS AND MEANS OF VERIFICATION
Critics experts in the mass media - press reviews, broadcast and cable
TV in Brazil and abroad.
WC - Lygia Clark’s Diary, Non profit event, Oi Futuro, Rio de Janeiro, 2007 . Elastic Net, 1974
CRONOLOGY
Director's view
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.
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.