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

DOCUMENTARY 80’DOCUMENTARY 80’

INSTITUTION

The Cultural Association "The World of LygiaClark" is a nonprofit organization that seeks todisseminate the life and work of Lygia Clark inBrazil and the world, promoting and organizingwith partners events, publications andexhibitions on the artist. In addition, developeda pioneering and revolutionary process ofcertification of works of the artist, which, inalmost its entirety, are parts not signed andmanufactured. Its performance valued the workof Lygia Clark by inhibiting actions of forgeryand ensure the purchase and sale of authenticpieces.

The Association was founded in May 2001 toestablish a register of works and all materialsrelated to the trajectory of the Artist. TheAssociation's mission is to disseminateinformation on Lygia Clark through texts, photosor any other media that emerge derived fromits creation as well as search and certify theauthenticity of the works of the artist.

In Cultural Association has currently a collectionof 6000 images and 15,000 pages of documents.This collection works, above all, as a dynamicfile that is updated as new documents aresearched or created by the field of art criticismor academics.

With letters and personal documents inPortuguese, English, French, Spanish, German,Italian and Japanese, the collection focuses theidea of a broader study on the artistic activityof Lygia, making the Cultural Association "TheWorld of Lygia Clark" reference for the study ofcontemporary Brazilian art available toresearchers in Brazil and the world.The role of this organization is to be the mainplayer of Lygia's ideas, to spread out the essenceof her proposals and to renew their effectivenessas life stimulation, as the Artist herself wouldlike her work experienced.

Certification

Since its inception in 2001, the certification ofworks by Lygia Clark is a necessary activity forthe registration, research and dissemination ofthe work of the artist. Moreover, it is a guaranteeof security and certainty, no doubt about theorigin and authenticity of the work for collectors.

The Cultural Association "The World of LygiaClark" offers free certification of works. Theprocess is done with the evaluation of documentssubmitted by the owner about the origin, historyof buying the work, technical reports, data fromthe work and the owner.

The analysis of the certification process is basedon the documents of property of the works,written by the Artist herself. If the work is notidentified in these lists, the owner is asked tosend the work to a qualified professional whowill make accurate chemical tests and theidentification of old materials.Currently, the Association has about 560 workscertified, making your database a securityinstrument for the realization of exhibitions.

The Association has the support of all collectorsof works by Lygia Clark to identify, certify anddisseminate the work of one of the mostimportant artists of Art History.

Exhibitions

Lygia creates new concepts, such as "organicline," promotes interactivity with the audienceand gradually moves away from traditional mediaof art. This concept of participation was whatthe artist more deepened throughout his artisticcareer, becoming one of its most strikingfeatures, on which the scenario of national andinternational art shows more interest.

Keeping alive the memory of Lygia Clark as wellas spread her work is the priority in theAssociation since its founding. The organizationparticipated in dozens of exhibitions in Braziland abroad. Among them are:The Art of Participation, SF-MoMa, San Francisco(2008); Peripheral vision and Collective Body,Museion, Bolzano (2008); Krobo/Clark, LodzMuzeum, Poland (2008); WACK! Art and theFeminist 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 ofthe Art, New York (2006/07), MAM-Rio, Brazil(2008); Lygia Clark, da obra ao acontecimento:somos o molde, a você cabe o sopro..., Muséedes Beaux-Arts, Nantes (2005) and Pinacotecaof São Paulo, Brazil (2006); Pulse: Art, Healingand Transformation, ICA, Boston, (2003); Brazil:Body and Soul, New York, Guggenheim Museum(2001); 7th International Istanbul Biennial -Special room, Istanbul (2001). PensamentoMudo, Dan Galeria, (2004). 50 Jahre/YearsDOCUMENTA: 1955-2005, KunsthalleFridericiaum Kassel (2005). Artists' Favourites,ICA - London, (2004). Soto: a construção daimaterialidade, CCBB - Rio and Brasília, InstitutoTomie Othake (2005).

Publications

Several texts about Lygia Clark are made, eitheran analysis of a phase, or a deep investigationon her trajectory. Therefore, all research materialis important to spread the memory of Lygia Clark.

For maintaining the research and preservationwork, as well as the administrative operationsof the Cultural Association, fees are charged forthe use of image rights, to institutions that seekassociation with the interest in disclosing theartist's work, through projects with commercialpurposes.

Below are some publications that had thesupport of the Cultural Association for theiredition:Elles@centrepompidou, Juan Vicente Aliaga(2009). Woman Artists, MoMA (2009). The Bodyin Contemporary Art, Thames&Rudson (2009).Understanding Art, Nelson Education (2008).PRATES, Valquíria; SANT'ANA, Renata. LygiaClark: linhas vivas. São Paulo: Paulinas, 2006.FERREIRA, Gloria; COTRIM, Cecília (org.). Escritosde artistas: anos 60/70. Rio de janeiro: JorgeZahar, 2006. FARINA, Cyntia. Arte, cuerpo ysubjetividad: estética de la formación ypedagogía de las afecciones. Thesis. Universityof Barcelona, 2005. GUIGON, Emmanuel; PIERRE,Arnauld. L`oeil moteur: art optique et cinétique,1950-1975. Strasbourg: Musée d`Art moderneet contemporain, 2005. DE SALVO, Donna. Opensystems: 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 bythe Department of Communication of the FederalGovernment, 2004. RAMIREZ, Mari Carmen;OLEA, Hector. Inverted Utopias: Avant-garde artin Latin America. Houston: Museum of Fine Arts,2004. BOIS, Yve-Alain; KRAUSS, Rosalind et al.Art since 1900: modernism, antimodernism andpostmodernism. 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 ofLygia, not only plastic works that constitute itshistory - many are the studies, both literary andplastics, and many are the reverberations of herwork, such as exhibitions and thesis are producedin several points of the world.

The Research sector of the Cultural Associationaims to catalog the complete works of artist andestablish a register of such works and allmaterials related to them. The collections,consisting of images and texts is organized tofacilitate the study of Lygia Clark.

Partners

The most recent retrospective of Lygia's workwas performed in conjunction with the FundacióAntoni Tàpies, in Barcelona. A large exhibitionwas inaugurated in 1997 at the Foundation itself.Then went to the Museum of Marseille (1998),Oporto Museum (1998) and Société desExpositions du Palais des Beaux-Arts, Brussels(1998).

The show season ended the Imperial Palace inRio de Janeiro, between December 1998 andFebruary 1999, gathering more than 30 thousandpeople, a number considered a record. Thepartnership also generated a catalog of about500 pages in four languages with a circulationof 9 thousand copies. Currently this publicationis over.

Since it was founded, the Cultural Associationparticipated and contributed in more than 70exhibitions in Brazil and the world: Musée duCalais (Calais, France), The Museum of ModernArt Oxford (England), Solomon GuggenheimMuseum (NY), Ludwig Museum (Colony),Akademie der Künste (Berlin), The Henry MooreInstitute (Leeds, England), Museo de ArteLatioamericano de Buenos Aires, Museum ofModern Art (Tokyo), Musée d'art moderne etcontemporaine (Geneva), Fundació Joan Miró(Barcelona), MOMA (NY), Parque Ferial JuanCarlos I (Madrid), Tate Modern (London),Pinacoteca of São Paulo, Instituto Itaú Cultural,Musée des Beaux-Arts de Nantes e Museum fürVölkerkunde Hamburg (German), Hiroshima

Museum of Contemporary Art, Museum of FineArts Houston (USA), MCA Chicago (USA),Barbican Center (London), ICA-London (England),NMWA - Washington (USA), PS1 NY (USA), LodzMuzeum (Poland), Instituto Oi Futuro (Rio deJaneiro), SF MoMA San Francisco (USA), MOTTokyo (Japan), Museion (Bolzano - Italy), CentrePompidou (France), Zacheta National Museumof Poland, among other partners.

Exhibitions of Lygia Clark have already beenimplemented in 29 countries and 114 differentcities, without counting those organized frompersonal collections that are not reported to theAssociation. The work of Lygia had a specialroom at the Museum of Modern Art in Rio from1999 to 2001. This period, 30% of the public whoattended the MAM had as main objective to seethe work of the artist.

A solo exhibition of Lygia Clark, held at thePinacoteca do Estado de Sao Paulo betweenJanuary and March 2006, received a totalaudience of 47,570 visitors, of whom 2807 werestudents, coming from 44 schools.

Among the institutions that have in theircollections works certified by the CulturalAssociation are: 21st Museum of ContemporaryArt, Kanazawa (Japan), Autin Desdemond FineArt (England), Ella Fontanals Cisneros Collection(USA), Marie-Josée Kravis - Stonecroft AssociatesLLC (USA), MoMa Museum of Modern Art (USA),Tate Modern (London), Fundacion Cisneros(Venezuela), Centre Pompidou (France), VeniceBiennale, Coopel Collection (Mexico), MuseoNacional 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 andabroad that the contact with art istransformative for human beings. TheGuggenheim Museum launched a few years agoa study that shows through research to bebeneficial to people encountering art, itsmanifestations and its history.

The research tested and compared theperformance in intellectual abilities - such asdescriptive ability, critical and creative - ofadolescents participating in the programLearning Through Art(www.learningthroughart.org), which stimulatesthe artistic learning in schools since 1970, withthe non-participants in the program created bythe museum.

According to the results, the students of theGuggenheim Museum had superior performance(more details about the study attached). Thesurvey indicated that students of the programused more words to express themselves anddemonstrated higher intellectual abilities thanthe group not participating in Learning ThroughArts.

“Basically, this study is a major contribution tothe field of art and museum education,” saidKim Kanatani, the Guggenheim's director ofeducation. “We think it confirms what we asmuseum education professionals have intuitivelyknown but haven't ever had the resources toprove.”

In Brazil, Geraldo Ferraz in "Retrospective:Figures, roots and problems of contemporaryart." (Sao Paulo: Cultrix / Edusp, 1975), assertsthat "art, by evoking the spirit of unrest, andnatural necessity man's instinctual to exhausttheir emotional state is also suggested as a socialprocess, as it offered a means of communicationwith our peers", as discussed in “Content playful,expressive and artistic in formal education", byJacqueline C. Castilho Moreira and Gisele MariaSchwartz (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 possibleto develop awareness, imagination, emotion, sensitivity and thoughtfulness, when performingartistic productions and interacting with different materials, tools and procedures.

The document also emphasizes the possibility of developing other content such as respect forown production and colleagues, understanding and identification of art of different cultures andtimes, 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 throughwords 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 personcontact with the objective world. We change the TVchannels, talk on cellphones and withdraw money throughpowerful forces unseen. The virtual world, without limits,is taking the place of the physical world in our lives. Wework, we live and have fun by screens, interfaces thattell us what to do and guide us where we want to reach.

According to Clark, the art needed to be at the serviceof the liberation of the human being that now exists incells, communities, online profiles. Lygia was ahead ofits time, today is clear. Shared by transforming the bodyof another in the object of her art long before Web 2.0,where the agenda is to share. The artist gave the artobject 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 throughher art and proposed it as transcendental artisticexpression. Sensory and relational objects, among manyother artifacts, opened a direct channel with the originalinterior (self, in the jargon of Lygia), creating a state ofrevealing and liberating self-knowledge.

The legacy of Lygia Clark today is the antidote to thepoison of modernity, which has depression and stress aspandemics. Makes actual physical contact a shelter andthe revelation of self and other. Turns the human contactinto 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 Clarkawakens the individual identity forinvestigating bodily sensations and memoriesthat it causes. This experience provides anunderstanding of art and ensuring theirincorporation in the everyday as a way ofsupporting the process of building a culturalidentity.

Discover who we are and seek to understandthe mode of being of others are the first stepsthat we can interact with respect. The artistalways stood as a researcher, exploring thelimits of the relationship between art andaudience, involving people in a deeplyinteractive process of creation.

Diagnosis: more recognition abroad than inBrazil

Given the established importance of the artsand Lygia for the formation of a more preparedintellectually and emotionally balanced, thereis a sad and paradoxical reality. Lygia Clarkand her work are still little known by theBrazilian, in comparison with foreignaudiences. Even the Cultural Association "TheWorld of Lygia Clark" estimates that morethan 70% of researchers who access theinstitution to gather information on the Artistcome from outside Brazil.

Partner institutions and collectors around theworld recognize the importance and value ofLygia Clark, stating that the experience withher work encourages the personal and socialdevelopment and contribute significantly tounderstanding the function and content ofart, contemporary punctually. At the sametime, on Brazilian soil, Lygia is limited toacademic debates and criticism of art, withlittle 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'scareer and work will cause a great impact on the spectators.The benefits include not only the richness of art experiencebut also the development of an updated point of view aboutthe world we live in.

Having the name associated to Lygia Clark's, her work andproposals has been a superior experience to several partnersas museums, galleries, schools and collectors. Spreading Lygiais essential to the building of a better world, more tolerantand intelligent.

Information processing and the highest level cultural experienceare attributes of a good concept, brand or institution, not tomention the importance of humanistic actions aimed atbroadening the knowledge on this great value of Brazilianvisual arts.

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

Differential

What makes this documentary film a necessaryand singular work is the peculiar Lygia Clark'swork itself. Unlike traditional documentaries,this film will not be based solely on thetestimonies, archives and collections to showthe artistic production and the trajectory of theartist.

It goes further, accomplishing the experience ofLygia's proposals, works that surpassed the limitsof frames and objects to directly engage thehuman body and become individual andcollective rituals in search of harmony and self-knowledge.

These proposals, such as Lygia called them, causeunique experiences that will be reconstructedfor the cinematographic lenses, creating anarrative, emotional and visual uniquedocumentary film language. That is, the moviewill 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 Clarkin Brazil and worldwide, contributing to the artisticdevelopment of the brazilians and amplifying nationalknowledge on contemporary art.

Specific Objective

Making a documentary of 80 minutes duration on thelife and work of Lygia Clark, a unique trajectory in thehistory 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 andsound. The propositions will be held normally without any worryactors to pose for the lenses. The opposite will happen: the lens,the film's narrator, will move 360 degrees around thepropositions, with framing options and speed of movement. Highcontrast photography and costume neutral will value the actionof the propositions.

Microphones will be placed on the actors while they areexperiencing a proposition. Cameras with the view of the actorwill be used in propositions like "The house is the body" and"Tunnel". A third camera will be placed on plongée (diving) tothe point of view perpendicular to the propositions, face to facewith 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 thatof Lygia Clark, in her letters, notes andunpublished diaries, written by herself.This is a story told by first-personprotagonist.

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 rebuildingLygia: friends, partners in work and family. In addition to interviews with internationalYve-Alain Bois, David Medalla and Guy Brett.

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

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

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 numberof photos of Lygia in everymoment of her life. This will giverichness and narrative rhythm inediting.

5. Computer graphics /trajectory of Lygia

The film will have an animationto illustrate the artistic trajectoryof Lygia Clark. This animation willbe edited as tags to pass alongthe 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 personnarrative, since we are only using textswritten by her. Preparation work will be doneso that the actress manages to attract theinflection and intent of Lygia when speaking.The idea is to create a "cloud" where personsboard the world of Lygia by its own melodyand intention.

7. Lettering

When the text is not Lygia's but very necessary to thenarrative, lettering will be used coherent with the visualidentity of the film.

Class at Sorbonne, Paris, 1973 . Tunnel, 1973

8. Opening

The opening credits will be signed incomputer graphics that use the conceptsof planes and surfaces modulated andorganic line. With each signature, thebackground changes, creating newimages, to be depicted from theneoconcret work of Lygia.

As an option, we have "The house is thebody" covered by a camera with the viewof a person who is experiencing theproposition. The viewer will "be born" tothe world of Lygia Clark, because itreproduces birth.

9. Music

We will liberate the music Caetano composed for her: "Ifyou hold the stone.” Alexandre Kassin, music producer andcomposer, takes care of the soundtrack and makes a remixof 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 releasedby the National Agency for Cinema (Ancine) inBrazil.

Number of spectators measured in exhibitions inall of Clark exhibitions in Brazil and abroad. Theexhibition of the film is always indicated by theCultural Association "The World of Lygia Clark" toall partners.

Number of viewers in cinema halls display abroad,including in festivals.

Number of views of trailers and making of in socialmedia as Youtube, Vimeo and social networks.Number of spectators at special exhibits forstudents from public schools.

Indicators of quality achieved by the project

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

Critics on the web, including spontaneous and not specialized bypersonal 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 GroupFront, led by Ivan Serpa and formed by HelioOiticica, Lygia Pape, Aluísio Coal, Álvaro SizaVieira, Franz Weissmann, Palatnik, amongothers.

1954/1958. Rio de Janeiro. Performs the series"modular surface" and "Counter-Reliefs".

1958/1960. New York. Receives theGuggenheim International Award.

1959. Rio de Janeiro. She is one of the foundersof the Neoconcreto Group.

1960. Rio de Janeiro. Teaches fine arts at theNational Institute of Education of the Deaf.

1960/1964. Rio de Janeiro. Created the series"Creatures", geometric metal constructionsthat are articulated by hinges and require theparticipation of the spectator.

1964. Rio de Janeiro. Creates the proposition"Walking", cut in a Moebius strip practiced bythe participant.

1966. Devoted herself to the sensoryexploration in works like "The House is theBody."

1969. Los Angeles. Participates in Symposiumon Sensory Art.

1970/1975. Paris. She teaches at the Facultéd'Arts Plastiques St. Charles, at the Sorbonne,and her work converges to creative experienceswith emphasis on the sense group.

1978/1985. Rio de Janeiro. Passing to devoteherself to study the therapeutic possibilities ofsensory art, working with relational objects.

1982. Sao Paulo SP. Gives a lecture on "thetherapeutic method of Lygia Clark", with LuizCarlos 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 havefirst person contact with the objective world. Wechange the TV channels, talk on cellphones andwithdraw money through powerful forces unseen.

The virtual world, without limits, is taking the placeof the physical world in our lives. We work, we liveand have fun by screens, interfaces that tell us whatto do and guide us where we want to reach.

Disturbed by the speed of this new world, we shareour follies through networks and social media, weseek strength in the divine invisible power - religions,sects, rituals - and woke up every day with theoutstanding information that proliferates withoutstopping.

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

The invisible forces of the online world canbring us great freedom (virtual), but can alsooppress us: we live in fear of invisible enemiesalike: Virus (computer or not), bacteria,burglars, terrorists. We live in a safe locked,maintaining contact with the entire planetthrough electronic windows.

Overwhelmed, afraid and confused, feel theneed to express, we shouted war cries inhanks, we exhibit in webcams, we talk aboutourselves for hours in chats and transform thebody into a billboard for our opinions.

Subtly insane, instant relief sought in drinkslike 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 (streetdemonstrations, sports arenas, carnival).Finally, we try to simulate the lives of ancestorswho lived in a simpler world, easy tounderstand: enough food and protect the tribe.That is, the primitive, today, gives us relief.

Lygia knew. Her thoughts kept this secrethermetic: the art needed to be at the serviceof the liberation of the human being that nowexists in cells, communities, online profiles.

Truly free, Lygia was ahead of her time, todayis clear. Shared by transforming the body ofanother in the object of her art long beforeWeb 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 handof her partner, as in "Walking," and established that "art isher act." She founded the art participatory, interactive andshared since then.

Lygia unlocked the gates of the subconscious through herart and proposed it as transcendental artistic expression.Sensory objects, relational ones, among many other artifacts,opened a direct channel with the original interior (self, inthe jargon of Lygia), creating a state of self-knowledge andrevealing, 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 ofmodernity. Makes actual physical contact a refuge and revelation ofself and other. It's more cathartic and legitimate than a thousandwords spoken in the classical psychoanalytic therapy. Turns the humancontact into a shelter that we seek in the virtual world and can't find.Our concept is a documentary feature film that reconstitute life andwork of Lygia. Her creativity, experimental talent and humor giveinvaluable raw material for a narrative marked by the actions andproposals 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 therole in order to perpetuate the historicalaudiovisual Lygia Clark, as well as artisticexpression spreads extremely current andconsistent with these times we are always in ahurry.

Reset Lygia Clark is restart the world. Reset theworld 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 thesubconscious research as a result of hercreation.

All her moments (of life) were punctuatedby a childbirth creative milestones of herexperiences. Her existence is not outlinedwhen studying her neura but converselyfound her fabulous exploratory attempt inthe internalization established general atthe 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 (Aspaseand Fernand Léger), breaking the stillness of the artwork (break frame),creating the organic line (in order to create the movement of works ofart hitherto static), plans for modulated surfaces (so that the work hada chance to be with its own two-dimensional movements), relief andagainst relief, when work really enjoyed its two-dimensionality, thecocoons that actually reached the three-dimensionality with theirhollow interiors, and when they finally fell to the ground and turnedinto mobile sculptures (Creatures) articulated.

This was the moment that the viewer was given the right to effectiveparticipation in the creative process, ie, Lygia transferred the authorshipof the work to the common individual, making clear her view that weare 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 closesher involvement as creator.

In her reverie by the attempt to "facilitate” contact between psychoanalyst andpatient, ultra difficult relationship considering the long years of treatment towhich she participated, created a link between the files of our sensory body andher 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 apatient previously, with the sole purpose of supplying the basic medical informationto a query, ie, facilitating the diagnosis.

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

Air and Stone, 1966

Alvaro Clark, president of “The World of Lygia Clark” Cultural AssociationFebruary 26 of 2009 (19h09) @ LygiaClark.blog