Hands Dialogues: Richard Serra, Rivane Neuenschwander and Tamar Guimarães
In 1966, Lygia Clark produced a project with Hélio Oiticica, in which both participants’ wrists were tied by an elastic band in the shape of a Möbius strip. In that work, which today is considered emblematic of Brazilian Neoconcretism, the hands become protagonists in an intersubjectivity game, in which inner and outer perception is in constant mutation. Clark conceived this project while undergoing physiotherapy on her wrist, the result of a car accident… Coincidentally, the same year, Yvonne Rainer was recovering from surgery, when she recruited the choreographer William Davis to record what would be their first film, Hand Movie. Unable to use her body as an instrument, Rainer performs for the camera utilizing superficially mundane, while at the same time extremely complex, movements, using only the fingers of her right hand. This program borrows the title of Clark’s work, and includes two pieces directly influenced by Rainier’s film, proposing a sort of free association between the pieces which explore the formal, linguistic and symbolic potential of hands in audiovisual creation. Though it is inevitably incomplete, this small sample of the use of this body part, which is inseparable from the human condition, points to distinct approaches. In addition, the sequence of the exhibition is organized so that it begins with the film in which the physical presence of the hand as formal device is highlighted (Hand Catching Lead, Richard Serra), moving on to acquire ambiguous linguistic connotations in Erotisme, by Rivane Neuenschwander and, finally, becoming a mostly absent, though central, image in La Incorrupta, by Tamar Guimarães.