By Freese R.
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He notes: The concept of New Objectivity does not seek, as many think, to ‘dilute’ structures; but to give them a total meaning, overcoming the structuralism created by the propositions of abstract art, making it grow on all sides, like a plant, until it embraces an idea focused on the liberty of the individual, furnishing him with propositions which are open for imaginative, interior exercise — this would be one of the ways, provided in this case by the artist, of de-alienating the individual, of making him objective in his socio-ethical behaviour.
Marcuse, whom Duarte suspected of idealism as early as 1968,59 was soon complemented by the rapidly growing influence of postcolonialism in the writings of Frantz Fanon,60 particularly during Oiticica’s time in New York, when, as CC5 Hendrix-War illustrates, he developed a profound fascination with the Black Panthers, connected in his mind to the mediatheoretical construct of the Global Village. McLuhan’s hypotheses that ‘with electric media Western man himself experiences exactly the same inundation as the remote native’ and that ‘electric speed mingles the cultures of prehistory with the dregs of industrial marketeers, the non-literate with the semiliterate and the postliterate’61 are no doubt a suitable scaffold for a non-hierarchical and emancipatory (re)organisation of class societies originally structured by racism, such as those of Brazil and the US.
70 His loft in New York became a gathering place for all sorts of more or less active dissidents and minor crooks, who participated in Oiticica’s day-and-night programme. This mixture shows that Oiticica did not see social and political opposition as grounded in contrasts — ‘straight’ and ‘queer’, ‘north’ and ‘south’, or ‘democracy’ and ‘dictatorship’. 71 In the late 1960s, Oiticica’s home in Rio de Janeiro’s Jardim Botânico had already served as a downright clandestine meeting point where (middle-class) bohemians mingled with people from Mangueira.