A Matemática e o Futebol

The documentary depicts the everyday of illiterate rural workers in Northeast Brazil, living under extreme misery. Although incapable of writing, they are aware of their condition and qualified to proposing solutions they hope for to their problems.

Lygia Pape created O ovo in 1967 and showed it in the group exhibition Apocalipopótese, held at Aterro de Flamengo in Rio de Janeiro in 1969. The work consisted of three cubes made of wooden boards, with each side covered with a layer of blue, red, or white plastic film. The participant would enter the structure through the open bottom side of the cube and push the film/skin in order to simulate the act of being born. Before showing the work, the artist herself entered one of the cubes. She described her experience: "You are trapped inside, covered by a sort of membrane; when you push on it with your hand, the membrane starts to give and suddenly tears, and so you are born: you stick your head out of the hole and roll on out." After the military coup d'état in Brazil in 1964, Pape devoted most of her practice to film and continued to make experimental films into the 1970s.

Sensuality, beauty, sophistication, elegance turning into a great debauchery. Both sides: chic and tacky. Where does one start? Where does the other end? Black tie party with pool, "waterfalls", champagne and murder. A police farce full of humor to the sound of great hitz by Artie Shaw, Marilyn Monroe, Alberta Hunter, Andre Previn and Gipsy Kings.

Apocalipopótese documents a public art happening organized by Rogério Duarte with Hélio Oiticica and Lygia Pape. Duarte coined the event’s title by fusing the words apotheosis, hypothesis, and apocalypse, in order to describe a series of artistic actions that distanced themselves from artistic institutions to approach the streets as the main stage. Apocalipopótese shows a search for the margins as creative methodology.

A satire on the relationship between the artist and the art market.