Max Jorge Hinderer Cruz

Max Jorge Hinderer Cruz is a writer, translator, and cultural critic specializing in Latin American studies and materialist aesthetics.

  • Hélio Oiticica and Neville D'Almeida

    Hélio Oiticica and Neville D'Almeida

    Block-Experiments in Cosmococa—Program in Progress

    Sabeth Buchmann and Max Jorge Hinderer Cruz

    An illustrated study that casts a new light on Oiticica's most important work of “quasi-cinema” on its fortieth anniversary.

    Hélio Oiticica (1937–1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa—Program in Progress (1973–1974) as an “open program”: a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his “quasi-cinema” work—his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York.

    Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work.

    • Hardcover $35.00
    • Paperback $19.95

Contributor

  • Artistic Ecologies

    Artistic Ecologies

    New Compasses and Tools

    Emily Pethick, Pablo Martínez, and What, How & for Whom/WHW

    An inquiry into the current ways of knowing, their ramifications, and institutional and noninstitutional artistic practices that provide channels for education from below.

    Artistic Ecologies: New Compasses and Tools aims to both analyze and speculate about potentials of artistic ecologies, collective learning, and engaged pedagogies to engender new institutionalities. 

    Going beyond tensions between individuals and institutions, Artistic Ecologies examines avenues for collective learning. If learning for life is emancipation—understood not just as a matter of power but of freedom—the essential question that emerges is: What knowledge makes us free and how can institutions help produce it? In search of an answer, this publication's textual and visual contributions explore sites and practices through which new institutionalities can emerge.

    Artistic Ecologies comprises essays analyzing current ways of knowing and their ramifications (Marina Garcés, Yayo Herrero and Pirate Care) and portraying alternative ways of forming knowledge through institutional and non-institutional artistic practices (DAAR—Decolonizing Architecture Art Research, Yael Davids, Max Jorge Hinderer Cruz, The Sensing Salon). Artistic contributions in various formats—poems, drawings, visual essays—by Luna Acosta, CAConrads, Eva Ďurovec, Teuta Gatolin, Margherita Isola, and Jammers illustrate heterodox channels for questioning the dominant forms of knowledge and educating from below.

    • Paperback $27.95