TABOO - TRANSGRESSION - TRANSCENDENCE

Lygia Clark is the pseudonym by which we know one of the key artists of the second half of the twenty century. Her praxis is intimately connected to the social, cultural, and political transformation  that took place in Brazil in the 1950s and the start of the 1960s, which strongly influenced architecture, visual arts, cinema, literature and music. She left Brazil , in under dictathorsip, and set up in Paris, teaching at the Faculté d'Arts Plastiques Saint Charles. Her praxis as a professor and artist at this school of the Sorbonne is known for its expermientation and for the transititon to therapeutic processes. In her classes, participants would be blindfolded to experiment sensations, coming in contact with, for instance, fruit, newspapers, balls of yarn, plastic bags, rocks, etc. The notion of environment is amplified by Lygia Clark in interactive and penetrable sculptures and installations, and in work where related subjects are protagonists. Students were invited to experience their own process of  establishing, sampling, and experiencing personal and colllective relationships with objects and with others ( humans and more-than-humans). Whith  this, she inserts and emphasizes the political dimension of existential moments and instants, which move away from conventionalisms and seek the freedom and intensity of sensations, constructing, in this manner, environments ( in the ecological sense of the word) of collective experience. In this way,  we can say that her pedagogic practices approach environmental education as political education and "practices of freedom" (Paulo Freire), creating dialogues with what has been termed an Ecologist Perspective of Education and Freirean Pedagogy.