Public art and its usefulness: reflections on the homeless people of New York and São Paolo, starting with the work by Vito Acconci, an international icon of Public Art. The installation, which was created in 60 days under the Glicério viaduct in São Paolo, is "something like a house for the street," a housecontainer added to the viaduct. In counterpoint, the words of the homeless population. Helena Ignez and Rogério Sganzerla met Vito Acconci in New York. Acconci is the most important late-20th century pioneer of performance, video, installations and exploration of architectonic space. His work has extended the confines of art, moving beyond the gallery or museum into shared public space. Initially a poet, Acconci began dedicating himself to Conceptual Art during the late 1960s. Helena Ignez's reflection touches themes about existence in its widest sense and offers the spectator a meditation on the perpetuating cycle of life.
Biography
film director
Helena Ignez
Helena
Ignez (Salvador
de
Bahia, Brazil, 1942), the former wife of Glauber Rocha and of Julio Bressane, is now
married to Rogério
Sganzerla. She is one of the central figures of
Brazilian dramaturgy of the ’60 and
’70s. Bressane and Sganzerla found
in her an actress who dared to dare and invented with them a new
cinematography
and a new language. A few of the films she has acted in are O
Bandido da Luz Vermelha (1969), A Mulher de Todos (1970)
and Copacabana
mon amour (1970) directed by Rogério Sganzerla.
FILMOGRAFIA
A miss
e o Dinossauro (co-regia
Julio Bressane, Rogéiro Sganzerla, cm, 1970), Reinvenção
da rua - Uma
reflexão (mm, 2003).