Abstract
It doesn’t make any sense to waste time with discussions about the work shot in Wall Street, 1972, being or not being unfinished, considering the film we have been seeing since 1992 (in almost all the artist’s retrospectives around the world) as an experimental oeuvre conceived from the supereightist practice of that decade beginning. We consider in this analysis its relation with this experience matrix, and the artist’s fruitful dialogue not only with his country’s previous cinema but also with his culture, politics, art and literature reactivated from the previous century.
keywords:
Hélio Oiticica; udigrudi cinema; Brazilian supereightism; art-life; neo-concretism; Aesthetic of Dream