Concrete Art

Pour la philosophie des sciences, un paradigme
est la matrice disciplinaire adoptée
par une communauté scientifique. Il constitue
et délimite le champ, la logique et la pratique
à suivre de l’étude même : il identifie
l’objet d’étude de la recherche scientifique, les
problèmes auxquels on ne peut déroger et la
meilleure technique pour les affronter. Dans
son application, un paradigme est la conjonction
d’expériences, étayées par des maquettes,
qui peuvent être étudiées ou répétées. Le paradigme
prédominant est souvent une façon particulière
de voir la réalité : davantage et autre
chose qu’une méthode scientifique générale.....

O movimento concreto em São Paulo surgiu oficialmente em 1952 por meio de exposição no Museu
de Arte Moderna de São Paulo (MAM-SP). Ativo enquanto grupo coeso até 1959, em torno do grupo
Ruptura, entrou em debates com outras correntes artísticas e assumiu postos de relevo no meio
artístico local. O problema do presente artigo se refere à atuação do concretismo na modernização do
campo artístico brasileiro ao longo das décadas. O objetivo é compreender como se deu a afirmação da
geração concretista na cidade de São Paulo após a década de 1950. Ainda que o período de 1952 a 1959
seja considerado o histórico do movimento concreto, pode-se entender o movimento sob outros vieses.
Assim, aqui o concretismo paulista é estudado em seus desdobramentos posteriores, isto é, o concretismo
depois de seu auge, os artistas concretistas sem o apoio do movimento concretista. [...]

This dissertation, supervised by professor Maria Luisa Távora, aims to analyze how the geometric abstractionism was experienced by some Brazilian and Argentinian artists, art theorists and critics between 1948 and 1961. It takes the Museu the Arte Moderna do Rio de Janeiro (Modern Art Museum of Rio de Janeiro) as a focal point.  The research points to the exhibitions, conferences and courses that happened at the Museum, examining various materials such as catalogues, folders, newsletters and photos. In the way to reconstruct the web of artistic information in which these protagonists where inserted, we also searched for texts that circulated through specialized journals, some of them translated at the time in Brazil.  In this way, keeping the objective of rescuing the interexchange of ideas or questionings between the Argentinian and the Brazilian art production, we could notice specificities and differentiations regarding what was then being made in Europe. Besides that, we restored the importance of the Argentinian presence in the Brazilian art context of that period, regarded by the art historiography and critique as related almost solely to the European canon and narrative. By doing so, the dissertation makes a fully bibliographical and analytical revision that broadens the field of art history and critique in Brazil regarding geometric abstractionism, based in a vast array of sources that goes far beyond the ones already known by previous analysts.

Coordinamento scientifico del convegno internazionale "Sintesi astratta. Espansioni e risonanze dell'arte astratta in Italia, 1930-1960", Università Cattolica, Milano, 13-14 ottobre 2021 

Abstract IT | EN

Le giornate di studio promosse dal Centro di Ricerca sull’Arte Astratta in Italia (CRA.IT), intitolate “Sintesi astratta. Espansioni e risonanze dell’arte astratta in Italia, 1930-1960”, vogliono essere un’occasione di confronto su alcune tematiche legate alla trasversalità connaturata all’astrattismo. Attraverso la definizione di “sintesi astratta” si intende indagare in quale misura l’utilizzo e l’interpretazione del “vocabolario” astratto siano stati funzionali a creare un ponte tra le discipline e a costituire un valido pretesto per ripensare alla “natura” delle stesse. L’intenzione è quella di alimentare confronti e approfondire metodi o approcci di studio incentrati su alcuni aspetti emblematici legati ai ruoli, alle funzioni, alle espressioni e ai processi dell’arte astratta. L’arco cronologico individuato prende origine dalle peculiarità dell’astrattismo in Italia durante gli anni trenta per considerare il suo sviluppo negli anni cinquanta. Il confronto muoverà a partire dal ruolo e dalle formulazioni che l’astrattismo ha avuto, fin dalle origini, nel campo delle arti visive, al fine di verificare in quale misura tale apporto sia stato determinante al rinnovamento espressivo di altre discipline, a cominciare dall’ambito architettonico e progettuale.
Attraverso l’impiego di un taglio prevalentemente storico l’obiettivo del convegno è duplice.
Sulla base dei fondamenti di trasversalità, in primo luogo si intende comprendere il ruolo e la funzione di trait d’union che l’astrattismo ha avuto all’interno di diverse sfere di ricerca: scuole, movimenti, gruppi, definizioni e ricezioni internazionali.
In seconda battuta, si propongono approfondimenti legati a specifici materiali, media o procedimenti, con l’obiettivo di indagare in quali termini l’astrattismo abbia orientato progettazioni o assecondato novità, trasformazioni tecniche, utilizzo di materiali e ricerche tecnologiche. Fin dalle origini l’astrattismo ha proposto un fervido scambio tra diversi media che ha consentito di comprendere come da ogni specifica indagine, circoscritta a un determinato settore, si siano generate ripercussioni all’interno di molteplici campi: dall’architettura al design, dalla musica alla fotografia fino al cinema e alla video arte.

The symposium “Abstract Synthesis. Expansion and Echoes of Italian Abstract Art, 1930-1960”, organized by CRA.IT (Research Center on Italian Abstract Art), is meant as an occasion to address several topics related to the crosscutting nature of abstract art. The title “Abstract Synthesis” refers to the ways in which the use and the interpretation of abstract language have been instrumental to the creation of deep connections among different practices and media, thus providing a reason for their theoretical redefinition. Hopefully, such occasion will prompt further debate on methodology, as well as on the functions, expressions and processes of abstract art. The choice of the historical timeframe for the symposium is based on the peculiar characters of Italian abstraction from the 1930s to its developments in the 1950s. The debate will initially focus on the role abstraction – since its inception – had in the field of the visual arts, in order to explore how its importance might have influenced the renewal of other practices, such as architecture and design.
Through a mainly historical approach, the symposium will serve two different purposes. On the one hand, it will explore how abstraction worked as a connecting trait among several fields of research: schools, movements, groups, definitions, and international influence.
On the other hand, it will analyze specific materials, media or processes, showing how abstract art oriented ideas and changes, technical innovations, as well as the research on materials and technology. Since its beginnings, abstract art facilitated a fruitful exchange among media, thus allowing specific phenomena, belonging to specific forms of expression, to have relevant repercussions on other fields, from architecture to design, from music to photography, from film to video-art.

Driscoll Babcock Galleries is proud to present Judith Lauand’s first solo exhibition in the United States. A survey spanning from the 1950s to the present, Judith Lauand: Brazilian Modernist, 1950s-2000s examines a broader trajectory of Lauand’s oeuvre, underscoring her early mastery of Arte Concreta in the 1950s that led in the following decades to further explorations, with figural and popular representation, assemblage, and optical color contrasts. These later artworks are reconsidered as a continual negotiation of the development of Brazilian avant-garde tendencies in the postwar era, duly reflecting Concretism’s historic rivalry with Neo-Concretism in Rio de Janeiro; the influence and reception of Pop and New Figuration; and the political disruption and censorship initiated during the military dictatorship (1964–85). This exhibition not only brings Lauand to the wider attention of North American viewers and helps to achieve long-overdue global recognition, but also reflects on Lauand’s authority as a pivotal artist in Latin America.

Las poéticas constructivas en Brasil y España desarrollaron, en el escenario de la Guerra Fría, una opción estética que apostaba por transformar los modos de percepción sensible a partir de una investigación formal radical. Determinadas instituciones y eventos, como la Bienal de São Paulo, tuvieron un rol fundamental como espacios de visibilidad para estas producciones y posibilitaron que se establecieran conexiones que acabaron fortaleciendo el ideal formativo y experimental del abstraccionismo geométrico en distintos territorios.

Max Bill, né en 1908 à Winterthur (Suisse) et mort à Berlin en 1994, fut un éminent architecte, peintre, sculpteur et théoricien de l’art.
Le maître suisse a été un chercheur acharné de l’Espace, dans toutes ses déclinaisons possibles. L’Espace, ici, est entendu comme milieu anthropique ; comme un lieu construit par l’homme pour y héberger ses propres événements quotidiens, mais aussi comme un lieu de la pensée et des aspirations humaines.
Tous ses projets, des toiles aux architectures, sont des quêtes sur de nouvelles conformations spatiales et sur leurs corrélations avec l’homme. C’est sur la base de ces prémisses, que se meut la rédaction de ce texte qui présente les projets, ou les événements, non de façon chronologique mais dans un ordre qui tend à démontrer – au fur et à mesure – les concepts qui sont à la base des recherches composites de Max Bill.

Le premier chapitre le situe dans un cadre historique lu à travers des thématiques. Le deuxième chapitre analyse, en revanche, les toiles et les constructions « bidimensionnelles » dans la perspective d’extraire les principes régulateurs de la composition qui seront ensuite la clé de lecture pour déchiffrer ses oeuvres architectoniques. L’architecture est le sujet principal du troisième chapitre: dans le cadre d’une production architectonique aussi vaste qu’inconnue, certains projets ont été analysés, choisis pour leur « leçon spatiale ». La quatrième section analyse l’utilisation de l’Espace dans les sculptures de Max Bill afin de comprendre le passage des géométries euclidiennes à des espaces plus complexes.

COVIMETRY is the first in Poland global manifestation of various trends in geometric art, conscious of its time - Traveling international art exhibition.
The first COVIMETRY exhibition will be opened on December 4, 2020.
Place: BWA Gallery, Ostrowiec Świętokrzyski, Poland
Duration: 4-31 December 2020
Watchability: Online ONLY
232 artists from 36 countries take part in the exhibition.

Curated by Mark Starel

Below is a list of participants by country:

Argentina
Verónica DI TORO, Ernesto DORATO, Alejandro GIGLI, Pablo PEREZ TORRES, Luis Alberto PLAQUIN, Judith CISNEROS

Australia
Susan ANDREWS, Louise BLYTON, Elisabeth BODEY, Sandra CURRY, Peter DE LORENZO, Judith DUQUEMIN, Brent HALLARD, Jan HANDEL, Kyle JENKINS, Kate MACKAY, Paul MONCRIEFF, Lisa PANG

Bosnia and Hercegovina           
Arleta CEHIC

Brazil   
Rachelmauricio CASTRO, Fernando DURÃO

Canada
Viola URSU

EU / Austria
Ilse ABERER, Waltraut COOPER, Karin HANNAK, Barbara HÖLLER, Zuzana KRIZALKOVIC, Josef LINSCHINGER, Gabi MITTERER

EU / Belgium
Karin BEYENS, Claudine BOUCQ, Michel CALEMBERT, Monique REIFENBERG, Ron VAN DE VYVER

EU / Bulgaria   
larypsed

EU / Czech Republic
Eva FRANC, Michal PŠENIČKA, Oto SLADEK 

EU / Denmark
Renate BORGEN, Peter HOLM, JChristian JENSEN, Lene JUHLER, Karin LIND, Pia LØYE, Gitte MØRK, Ulla PEDERSEN

EU / France
Gérard BAKNER, Jean Paul BARET, Kirell BENZI, Christine BOIRY, Janusz BRUDNIEWICZ, Claire DE CHAVAGNAC-BRUGNON, Gilles DROUIN, Guillaume GUINTRAND, Octavio HERRERA, Valérie LALLICAN, Danielle LESCOT, Jean-Luc MANGUIN, Marilyn Chapin MASSEY, Laura NILLNI, Roland ORÉPÜK, Jordan RAVY, Bogumiła STROJNA, TILMAN, Marc VEYRAT, Cora VON ZEZSCHWITZ

EU / Germany
Anne BERLIT, Klaudia Maria BIRKEFELD, Gerhard BIRKHOFER,  Ines BITSCH,  Arvid BOECKER,  Dominique CHAPUIS, CHOSSY, Christoph DAHLHAUSEN, Maks DANNECKER, Nikola DIMITROV, EMINUSK, Katharina FISCHBORN, Kerstin GNAUCK, Sam GRIGORIAN, Ingrid HORNEF, Gerhard HOTTER, Inge JAKOBSEN, Halina JAWORSKI, Elfie KNOCHE-WENDEL, Christine LÖW, Doris MARTEN, OSTER+KOEZLE, Michael PERLBACH, Edeltraut RATH, Cornelia ROHDE /Jürgen FORSTER, Reinhard ROY, Lutz SCHOENHERR, Anja SCHWÖRER, Julia SILBERMANN, Norbert THOMAS, Hans-Günter WENDEL, Jürgen WOLFF

EU / Greece
Ioannis LASSITHIOTAKIS, Kleopatra MOURSELA, Rania SCHORETSANITI, Pinelopi SIROGIANNI

EU / Hungary
Zsuzsa DARDAI, Arpad FORGO, Zsolt GYENES, István HAÁSZ, Antal KELLE, József MARYJOZ SZATHMÁRY, Dora MAURER, Bernadette NAGY, János Szász SAXON, Zoltán SZLABEY, Andras WOLSKY

EU / Italy
Lorenzo CONTI, Lorenzo BOCCA, Fabio Massimo CARUSO, Gabriel DE GAUDI, Xenia MIRANDA, Luisa RUSSO, Alberto SAKA, Salvatore STARACE, Giancarlo ZERBONI‎

EU / Nederlands
Willem BESSELINK, Burnie 1100, Ria GROENHOF, Jeltje van HOUTEN, Anneke KLEIN KRANENBARG, Gerda KRUIMER, Marlies LEBESQUE, Carrie MEIJER, Pim PIËT, George SCHADE, Kees VAN DE WAL, Rene VAN DEN BOS, Gerard VAN DER HORST, Helen VERGOUWEN, Wilma VISSERS

EU / Poland
Jarosław BOREK, Małgorzata GORGOLEWSKA, Magdalena GRYSKA, Katarzyna KOCZYŃSKA-KIELAN, Małgorzata ŁUSZCZAK, Michał MISIAK, Grzegorz MROCZKOWSKI, Aleksander Józef OLSZEWSKI, Michał OSTANIEWICZ, Sławomir PLEWKO, Zbigniew ROMAŃCZUK, Magdalena SNARSKA, Mark STAREL, Przemek SULIGA, Anna SZPRYNGER, Grzegorz SZTABIŃSKI, Agnieszka WASIAK, Joa ZAK, Tomasz ZAWADZKI, Olga ZĄBROŃ, Robert ŻBIK

EU / Slovakia
Štefan BALÁZS, Katarina BALUNOVA, Viktor HULÍK, Pavol RUSKO

EU / Slovenia
Beti BRICELJ, Milena GREGORČIČ, Cvetka HOJNIK

EU / Spain
Diego Alexandre ASI, Maria BRAÑA, Maria CUEVAS, D.T. (NECANE), Cristina GHETTI, Julian GIL, Mayte MOLINA

EU / Sweden
Torsten RIDELL, Lars THOSTRUP

Japan 
Atsushi KOBAYASHI

Norway             
Susanne Kathlen MADER, Kjell VARVIN

Pakistan           
Iqra IQBAL

Peru   
Jaime HIGA

Philippines       
Jay RAGMA

Russia 
Alexandr GOLYNSKIY

Serbia 
Danja TEKIĆ

South Korea   
David MRUGALA, Jeongeun PARK, Jahyun SEO

Switzerland
Claude AUGSBURGER, Anne BLANCHET, Rita ERNST, Roland JUNG, Yves LAPPERT, Ada WEBER, Marian WEBER

Turkey
Erdem K. KOROGLU, Seckin PIRIM

Ukraine             
Alexander BONDARENKO, Serhiy POPOV

United Arab Emirates
Remi MATSUKURA ROXBROUGH

United Kingdom
Stu BURKE, Karen FOSS, Clare FRENCH, Peter Hugo McCLURE, MORRISSEY+HANCOCK, Laurence NOGA, REVAD David RILEY

Uruguay           
Judith BRITEZ, Francesca DI SANO, Marcelo LARROSA

USA
Tracey ADAMS, Steven BARIS, Perrin BLACKMAN, Beth CASPAR, Bernadette Jiyong FRANK, Connie GOLDMAN, Howard HERSH, Jeffrey Cortland JONES, Lise KJAER, Barbara Bryn KLARE, Gosia KOSCIELAK, Kristin McIVER, Manfred MOHR, Tadeusz MYSLOWSKI, Munira NAQUI, Brooke NIXON, Andrzej Jakub OLEJNICZAK, Paul PENA, Beverly RAUTENBERG, Rebecca RUTSTEIN, Suzan SHUTAN, Louise P. SLOANE, Jessica SNOW, T. Michael STEPHENS, Soonae TARK


This exhibition begins a series of shows, documentation from the exhibition available after December 4, 2020



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https://www.facebook.com/MarkStarel

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Peter Harnden y Lanfranco Bombelli eran dos arquitectos que tras la segunda guerra mundial trabajaron para el gobierno de los Estados Unidos de América organizando exposiciones para la divulgación del Plan Marshall desde la embajada americana en París. Tras un viaje a Madrid en el 1956, regresando a la capital francesa hicieron parada, aconsejados por su amigo Coderch, en Cadaqués. En esta población residía Salvador Dalí y pasaría a partir de 1958 los veranos Marcel Duchamp quienes atrajeron a una larga lista de intelectuales y artistas convirtiendo la pequeña población en un centro artístico de primer orden. El lugar y su ambiente cultural sedujeron a los arquitectos que desde 1958 hasta sus respectivas muertes veranearían en esta población.
Harnden y Bombelli construirían en Cadaqués nueve casas perfectamente integradas en la arquitectura austera y vernácula del lugar siguiendo los criterios del movimiento moderno. Una de estas fue para la escultora americana amiga de Duchamp, Mary Callery. El artículo analiza esta casa y cómo en ella se aplican los criterios del Arte Concreto, corriente artística a la que estaba afiliado Bombelli.



Peter Harnden and Lanfranco Bombelli were two architects after World War II worked for the government of the United States of America organizing exhibitions to publicize the Marshall Plan from the American Embassy in Paris. After a trip to Madrid in 1956 returning to the French capital they did stop, advised by his friend Coderch, in Cadaqués. In this population he resided Salvador Dali and Marcel Duchamp spent summers who attracted a long list of intellectuals and turning the small town into an arts center artists of the first order. Harnden and Bombelli would build nine houses in Cadaqués perfectly integrated into the vernacular architecture austere place following the criteria of the modern movement. One of these was for the American sculptor friend of Duchamp, Mary Callery. The article analyzes this house as her criteria of Concrete Art artistic movement to which he was affiliated Bombelli apply.

This note links Concrete Art (l'art concret), a visual art form originating around 1925, with Basic Design as taught in first-year design courses. It extends this view by approaching the topic from a rule-based, meta-design perspective using METAPOST and Nicola Vitacolonna's engine for TeXShop.

Sophie Taeuber-Arp's Vanishing Lines. Myriam Thyes, 2015, animation, HD video, 10:10, loop, stereo. Audio: Silvia Pachler.

In what is, prima facie, a mesh of abstract lines, no few of the works that Sophie Taeuber-Arp completed between 1940 and 1942 in her exile in southern France manifest a symbolism of war, persecution and flight. The compositions of lively, curved lines have, in part, something lost, floating, broken, irrational about them. At times they seem to be deliberately 'chaotic', which, in all Taeuber-Arp's earlier works, would have been wholly uncharacteristic. Yet for all the horrifying events hinted at, these drawings are highly aesthetic entities. In Taeuber-Arp's cycle of works entitled 'Lignes...', an aspect of DADA re-emerges – the (meaning-denying) art of refugees from war. The animation, which combines eight of her works from the 'Lignes' series with photographs from WW2, shows the connection and the discrepancy between Taeuber-Arp's artistic activity and the world of war and persecution. To that extent, 'Vanishing Lines' also refers to her inner flight from reality. The video thereby highlights a dilemma facing artists to this day, of making art in a time of injustice and violence. There is good reason to animate Sophie Taeuber-Arp's compositions, as she developed a striking number of variations out of the same basic elements for her series and because dance, movement and rhythm play an important role throughout her œuvre.

http://www.thyes.com/political-symbols/taeuberarps-fluchtlinien/index.html

This text approaches the relation of the Brazilian artist Waldemar Cordeiro the Associazione Artistica Internazionale Indipendente Art Club, founded in Rome, in 1945, especially with the members of the group Forma, in order to discuss how the emergence of abstractionism in Italy after the end of the Second World War impacted Cordeiro's theories on abstractionism and concrete art.

El artículo aborda dos episodios que revelan fragmentos de un pasado poco explorado: el de los cruces entre los artistas argentinos y el Partido Comunista local. El primero se relaciona con una exposición a beneficio de la Unión Soviética convocada por el Partido Comunista Argentino (PCA) en enero de 1922; el segundo se vincula con dos fotomontajes realizados por el líder de la vanguardia concreta, Tomás Maldonado, para la prensa de ese mismo Partido, a mediados de la década del 40. Ambos episodios nos confrontan con distintos modos de intersección
entre estética y política en la órbita del PCA, en dos momentos bien diferentes de nuestro país y de la historia del propio
comunismo. Asimismo, dan cuenta de las tensiones en torno al realismo socialista como estética oficial y las nuevas propuestas de los productores culturales de avanzada.

Text published in the catalog of the show Max Bill Global: An Artist Building Bridges, held at Zentrum Paul Klee Museum, Bern, in 2021.
It approaches the impact of Max Bill's works in a set of Brazilian artists such as Geraldo de Barros, Lygia Clark, Mary Vieira, and Hércules Barsotti. The text suggests the importance of Max Bill in Brazil would be related not only with the features of precision and clarity in his work but with his interest in the paths sought by science to deal with the irregular and the unpredictable through non-Euclidean geometry.

Exhibition open Tuesday-Sunday 10am to 4pm. Image: Jon Thogmartin. Copyright of the artist. Curated by Dr Judith Duqueim, Constructive Reductive is a multidisciplinary exhibition of contemporary constructive art by twelve international artists that supports an inquiry into artist intentionality and artist technique. Works include: immersive light installation; virtual reality/eco sculpture; immersive drone-based sound scape; projective relief; painting and narratology; structural/geometric/spatial/code-defined painting; luminal kinetic construction/photo sets; digital drawing; sonic science/audio art/sound plastics. QCA Galleries are practicing safe and hygienic practices throughout the gallery space and we will ensure that there are an appropriate number of attendees are in the gallery at one time to abide by the Government's social distancing guidelines. Visitors will be asked to check into POP Gallery using a QR code. Constructive Reductive
Curated by Dr Judith Duquemin

Joseph Buis (FR) POP Gallery Opening Event
Judith Cisneros (AR) 381 Brunswick Street 25/08/20 
Elizabeth Day (AU) Fortitude Valley 4006 Tue 6 - 8 pm 
Judith Duquemin (AU) Brisbane QLD AUSTRALIA Refreshments
Liz Helman (UK) T. (07) 37356106
Gosia Koscielak (PL/US) qcagalleries@griffith.edu.au
Roland Emile Kuit & https://griffith.edu.au/qcagalleries/
Karin Schomaker (NL)
Aaron Perkins (AU
Charley Peters (UK) Dates 24/08/20 – 06/09/20
T. Michael Stephens (US) 10 – 4 Tue – Sun - Closed Monday
Jon Thogmartin (US) 
 
 

















Forming I

It is obvious that an imagined world, however different it may be from the real one, must
have something - a form in common with it. Ludwig Wittgenstein Tractatus Logico- Philosophicus

Constructive Reductive, is a multi-disciplinary exhibition of contemporary, constructive art with supporting website by twelve international artists whose practices include: immersive geometry; virtual reality; projective relief; painting and narratology; structural and systematic geometric painting; luminal kinetic construction; immersive drone sound scape; digital graphics; sonic science, audio art and sound plastics. Constructive Reductive refers to a bringing together of elements. It characterizes an artist’s intent, hypothetically inferring in this essay to an action of forming. Debated since ancient times, the subject of intentionality refers to ‘a directedness towards a content (the intentional object), being that which those states are about’ . For the artist, the intended object is an object still in a state of becoming.

As a result, the exhibition and essay focuses on aspects of art process to support inquiry into phenomena surrounding creative construction within a general concept of forming. Forming being an action of bringing together elements and parts to form or create something . The action of forming is explored through a concept of volition commonly associated with a concept of free will, or non-causal free will, that which helps to describe creative free will. Free will derives from the Latin verb “velle”, meaning “to will or “to wish” with the word “voluntary” arising from the same source. Free will is generally referred to as the ability to choose and act freely, though philosophy, science and religion fail to agree about the true nature of free will or whether in fact it exists. Opinions are divided between compatibilist and non-compatibilist arguments of free will based on a freedom to choose, or, action that is determined. Non-causal definitions of free will hold that each intentional action is or begins with a basic mental action or volition. “when an agent acts freely - when she exercises free will - it is up to her whether she does one thing or another on that occasion. A plurality of alternatives is open to her, and she determines which she pursues. When she does, she is an ultimate source or origin of her action. So runs a familiar conception of free will” .

¿Qué pasaría si, además de aceptar la genealogía clásica que busca los orígenes del arte latinoamericano moderno en la abstracción europea, atendiéramos a otras redes que se traman en la historia regional? Es decir, conexiones activas, corrientes, conceptos, procedimientos y referentes que reaparecen intermitentemente en las obras y los discursos que suscitan, y que, debidamente considerados, nos permitirían componer una historia del arte constructivo con potencia regional.

La Primera Exposición Conjunta de Arte Normativo Español, realizada en el Ateneo de Valencia en marzo de 1960, fue el resultado de toda una serie de proyectos anteriores que, desde 1959, estaban encaminados a la unificación de las tendencias constructivistas españolas en un frente común. El objeto de este artículo es el estudio de dichos proyectos precedentes y de su transformación en la citada exposición, analizando, además, los planes y debates que suscitó la muestra, tanto dentro del colectivo, como en la crítica del momento

Der Schweizer Maler André Evard (1876-1972) ist der Namensgeber für den alle drei Jahre von der kunsthalle messmer ausgeschriebenen andré- evard-preis. Seine Werke machen den Großteil der Sammlung der kunsthalle messmer aus. Nachdem Evard zuerst in der Art seines Lehrers Charles L’Eplat- tenier im style sapin, einer schweizerischen Sonder- form des Jugendstils, malte, wendete er sich mit fortschreitendem Alter immer mehr der Abstraktion zu.

O concretismo paulista foi movimento de vanguarda atuante na década de 1950. O objetivo deste artigo é apresentar e analisar a formação artística dos artistas visuais e poetas concretistas. Essa formação pode ser dividida em dois polos. O polo mais formal envolveu escolas de arte, ateliês de professores artistas e escolas profissionalizantes. Já o polo menos formal reuniu novos locais de socialização, como museus de arte, a Seção de Arte da Biblioteca Municipal e bares, todos na cidade de São Paulo. O método utilizado foi o da biografia coletiva, segundo o proposto por Christophe Charle. Os materiais foram monografias sobre artistas, trabalhos acadêmicos, artigos de jornais, manifesto e livros de historiografia da arte e sociologia. As considerações finais discutem a importância dos espaços não formais de formação artística para o movimento concretista.

Resumen El recorrido que se propone en esta oportunidad, está asociado a la revista contemporánea, en particular su primeras apariciones en torno a 1948 y 1950. Dicha publicación, dirigida por Juan Jacobo Bajarlía en Buenos Aires (Argentina), exige atender a los contactos culturales implicados, a la transición desde Arturo. Revista de Artes Abstractas (Buenos Aires, 1944), a las diversas publicaciones relacionadas con el invencionismo argentino (Edgar Bayley, Tomás Maldonado, el mismo Bajarlía, entre otros). Al respecto, interesa señalar un cúmulo de vínculos entre instituciones, discursos, actores e invenciones que recorren tanto la poesía como las artes visuales, ya que se parte del supuesto de la exigencia interdisciplinaria contenida en el estudio de las revistas culturales como soporte visible de poéticas. Los términos revolución, contienda, invención, contemporáneo y lunar se reúnen heterogéneamente en la proposición de las nuevas realidades y en conexión con decisiones en materia de poesía y artes visuales.
Abstract In this opportunity, an overview related to contemporánea journal is proposed, particularly his first period within 1948 and 1950. This publication was edited by Juan Jacobo Bajarlía in Buenos Aires (Argentina) and implied different cultural contacts, the transition from Arturo. Abstract Art Journal (Buenos Aires, 1944) to a variety of Argentinian Inventionism publications (Edgar Bayley, Tomás Maldonado, Bajarlía himself, among others). On this matter, is important to indicate links between institutions, discourses, actors and inventions which follow poetry and visual arts according to an interdisciplinary perspective or cultural journals studies as means of poetics. Concepts as revolution, battle, invention, contemporaneous and lunar-mole are joint in new realities and are connected with poetry and visual arts decisions.

Ferreira Gullar teve intensa participação na vida artística brasileira, a partir da década de 1950. Atuou como poeta, crítico de arte, dramaturgo, jornalista, para citar algumas ocupações. Em entrevista realizada em 2015, em sua residência, no Rio de Janeiro, Gullar conversou sobre temas como a resistência política à ditadura militar, a poesia brasileira do século XX, Alfredo Volpi, Oswald de Andrade, Mário Pedrosa, a arte do louco e o concretismo, tendo comentado sua influência na arte de hoje e algumas das figuras de destaque desse movimento vanguardista.

The text analyzes the contacts between the Brazilian artist Lygia Clark and the French-German artist Hans Arp, as well as the connections between their conceptions of Concrete Art.

Published in:
TEUSCHER, Jana; WÜRTENBERGER, Loretta (Ed.). The Art of Hans Arp After 1945. Berlin: Stiftung Arp e. V. Papers, 2017.

The retrospective of the Kunsthalle München (formerly named Kunsthalle der Hypo-Kulturstiftung, 6/19 - 8/15/1993) was curated by Dieter Honisch. The review discusses Günther Uecker's development from 1957 to 1992 by outlining his "field structures and sign functions". The PDF-version of the review was extended by 17 illustrations.
Source: URL: http://dreher.netzliteratur.net/1_Uecker.pdf

Resumo O crítico de arte Mário Pedrosa destacou-se, entre o final de década de 1940 e o início da década de 1950, ao contribuir para a formação de um núcleo de arte concreta no Rio de Janeiro, juntamente com o artista e professor Ivan Serpa. Enquanto Serpa reuniu esses artistas em suas aulas de pintura, debatendo os trabalhos que eram ali apresentados, Pedrosa fez de sua casa um espaço para apresentar as ideias que estava desenvolvendo em sua tese sobre a percepção da forma na obra de arte. O objetivo deste trabalho é analisar o papel ocupado por Pedrosa na construção de um projeto artístico, em relação àquele desempenhado por Serpa, atuando como mediador em diversos níveis: apresentando os novos artistas ao público na condição de crítico, e atuando como um “teórico” no interior de um grupo de artistas.

Gosia Koscielak
www.gosiakoscielak.info

History of the VR Virtual Unism and the VR Virtual Unism 2020 artwork, and its presentations.


At the exhibition Constructive / Reductive, curated by Judith Duquemin at the The Queensland College of Art (QCA) in Brisbane, Queensland in Australia I presented my new concept of VR Virtual Unism 2020 artwork. I created this artwork especially for this exhibition.  http://www.judithduquemin.com/101465334

VR has a lot of applications outside of art, and in art it is used, even today, by few artists as a method of artistic expression and matter of a work of art. The use of VR technique in art is based on the script, which is a record of conceptual artwork. I created the first such "scenario" combining Unism with VR technology in 2005. For the first time, based on the theory of Unism, I found a dialogue between this theory and methods of the VR techniques; spatial-optical properties of virtual reality. What creates virtual sculpture as an infinite energy form, of time and space (my experimental series of artworks: ENERGY OF SPACE and CONCEALED ENERGY and EXPOSED ENERGY OF SPACE  from 1987 – 1992, individual exhibition Museum of Architecture, Wrocław, Poland).

The world premiere of VR "Virtual Unism" networked exhibition, with my script, took place during VR shows at IGRID, the international scientific conference of the global network Calit2 at the University of California in San Diego on September 26-29, 2005: International Conference on Advanced Scientific Research in International and National Global Network Systems Calit2, University of California, San Diego, CA, September 26-29, 2005, in cooperation with UIC EVL in Chicago. This implementation is described in the materials of this conference, there is also a rich photographic record of this show. An integral part of this networked exhibition is a script based on my conceptual work “Virtual Unism”, GosiaKoscielak©2005, a philosophical and theoretical concept justifying this autonomous work of art.

“GOSIA KOSCIELAK’s conceptual artwork and the title of her conceptual artwork series “Virtual Unism” was the basis for the iGrid 2005 virtual reality implementation, developed for iGrid 2005. Starting in 1994, Gosia began researching the theory of Unism, a modernist art theory created in the beginning of the 20th century by Władyslaw Strzemiński and Katarzyna Kobro in Poland. “
  - EVL UIC, Chicago website: https://www.evl.uic.edu/virtualunism/

As an assistant to prof. Wanda Gołkowska (Academy of Fine Arts in Wrocław, Poland)  since the second half of the 1980s, I have actively participated in the international and Polish geometric art movement and in artistic activities related to the geometric abstraction, as well as conceptualism, structuralism, and mail art for nearly 35 years. Before traveling to the USA (1992) I took part in many geometric abstract art exhibitions in Poland, Germany, the Netherlands, Austria, Italy, Greece, and Unism was one of the art theory references I was in artistic dialog with that time. In the 1980s I was a participant in the plein-airs of Dr Bożena Kowalska for the Artists Using the Language of Geometry in Okuninka near Chełm, Poland, and my works are in the collection of the Chełm Museum. In the 1980s I also ran Galeria Rekwizytornia in Wrocław, which mainly had geometric abstraction in the program. I also participated in the artistic movement animated by Jurgen / Gerard Blum-Kwiatkowski, and my works are in collections at the Modern Art Museum in Hunfeld and the New Space Gallery in Fulda, Germany, where I appear in catalogs and posters. I have participated in many exhibitions of the international systemic and geometric art movement since the 1980s, among others, I have participated in the following exhibitions and conferences: Konstruktiv und Konkret, Kleine Galerie, Ilmenau in Germany in 1993, in 2000 I participated in the EXPOSITIE L'IDEE exhibition 2D + 3D Mondriaahuis, Mondrian Museum, Amersfoort, The Netherlands, in 1994 Sonderausstellung-Neuerwerbungen, Museum of Modern Art, Hunfeld-Fulda, Germany. In 1990 I took part in the exhibition Konstruktive Stromungen, Ars Polona Gallery, Dusseldorf, Germany, Konkrete Multiples, Gallery L'Idee in Zoetermeer in the Netherlands, Geometria i Światło (Geometry & Light), International Plain Air in Okuninka, Poland. In 1989 Null Dimension, Kunst International, Gmunden, Austria, Null Dimension, Museum of Architecture, Wroclaw, Poland,3 Pro-Conference in Rotterdam, The Netherlands, in 1988 Null Dimension, Space Gallery, Fulda, Germany, Pro-Conference in New Space Gallery, Fulda, Germany. In 2019, I also took part in the Interdiscursive Geometry - Non-Objective exhibition, Action Gallery, SMB Imielin, Warsaw, Poland, Interdiscursive Geometry - Non-Objective 2, University Gallery in Cieszyn, Poland, and in 1988 I took part in the Young Generation of Polish Constructivism, Athens, Greece, curated by my sister Elżbieta Kościelak. The exhibition was also accompanied by a catalog. During the PRO Conference and 3 PRO - Conference, international system and geometric art conferences in Fulda, Rotterdam, and Madrid I met a distinguish member of the legendary group of American Structuralism, T. Michael Stephens, the Director of the Art Research Center, and I am currently an associate member of this group.

https://en.wikipedia.org/wiki/Art_Research_Center

http://www.artresearchcentergroup.org/-statement-membership.html

Gosia Koscielak  www.gosiakoscielak.info

History of the VR Virtual Unism and the VR Virtual Unism 2020 artwork, and its presentations.


At the exhibition Constructive / Reductive, curated by Judith Duquemin at the The Queensland College of Art (QCA) in Brisbane, Queensland in Australia I presented my new concept of VR Virtual Unism 2020 artwork. I created this artwork especially for this exhibition.  http://www.judithduquemin.com/101465334

VR has a lot of applications outside of art, and in art it is used, even today, by few artists as a method of artistic expression and matter of a work of art. The use of VR technique in art is based on the script, which is a record of conceptual artwork. I created the first such "scenario" combining Unism with VR technology in 2005. For the first time, based on the theory of Unism, I found a dialogue between this theory and methods of the VR techniques; spatial-optical properties of virtual reality. What creates virtual sculpture as an infinite energy form, of time and space (my experimental series of artworks: ENERGY OF SPACE and CONCEALED ENERGY and EXPOSED ENERGY OF SPACE  from 1987 – 1992, individual exhibition Museum of Architecture, Wrocław, Poland).

The world premiere of VR "Virtual Unism" networked exhibition, with my script, took place during VR shows at IGRID, the international scientific conference of the global network Calit2 at the University of California in San Diego on September 26-29, 2005: International Conference on Advanced Scientific Research in International and National Global Network Systems Calit2, University of California, San Diego, CA, September 26-29, 2005, in cooperation with UIC EVL in Chicago. This implementation is described in the materials of this conference, there is also a rich photographic record of this show. An integral part of this networked exhibition is a script based on my conceptual work “Virtual Unism”, GosiaKoscielak©2005, a philosophical and theoretical concept justifying this autonomous work of art.

“GOSIA KOSCIELAK’s conceptual artwork and the title of her conceptual artwork series “Virtual Unism” was the basis for the iGrid 2005 virtual reality implementation, developed for iGrid 2005. Starting in 1994, Gosia began researching the theory of Unism, a modernist art theory created in the beginning of the 20th century by Władyslaw Strzemiński and Katarzyna Kobro in Poland. “
  - EVL UIC, Chicago website: https://www.evl.uic.edu/virtualunism/

As an assistant to prof. Wanda Gołkowska (Academy of Fine Arts in Wrocław, Poland)  since the second half of the 1980s, I have actively participated in the international and Polish geometric art movement and in artistic activities related to the geometric abstraction, as well as conceptualism, structuralism, and mail art for nearly 35 years. Before traveling to the USA (1992) I took part in many geometric abstract art exhibitions in Poland, Germany, the Netherlands, Austria, Italy, Greece, and Unism was one of the art theory references I was in artistic dialog with that time. In the 1980s I was a participant in the plein-airs of Dr Bożena Kowalska for the Artists Using the Language of Geometry in Okuninka near Chełm, Poland, and my works are in the collection of the Chełm Museum. In the 1980s I also ran Galeria Rekwizytornia in Wrocław, which mainly had geometric abstraction in the program. I also participated in the artistic movement animated by Jurgen / Gerard Blum-Kwiatkowski, and my works are in collections at the Modern Art Museum in Hunfeld and the New Space Gallery in Fulda, Germany, where I appear in catalogs and posters. I have participated in many exhibitions of the international systemic and geometric art movement since the 1980s, among others, I have participated in the following exhibitions and conferences: Konstruktiv und Konkret, Kleine Galerie, Ilmenau in Germany in 1993, in 2000 I participated in the EXPOSITIE L'IDEE exhibition 2D + 3D Mondriaahuis, Mondrian Museum, Amersfoort, The Netherlands, in 1994 Sonderausstellung-Neuerwerbungen, Museum of Modern Art, Hunfeld-Fulda, Germany. In 1990 I took part in the exhibition Konstruktive Stromungen, Ars Polona Gallery, Dusseldorf, Germany, Konkrete Multiples, Gallery L'Idee in Zoetermeer in the Netherlands, Geometria i Światło (Geometry & Light), International Plain Air in Okuninka, Poland. In 1989 Null Dimension, Kunst International, Gmunden, Austria, Null Dimension, Museum of Architecture, Wroclaw, Poland,3 Pro-Conference in Rotterdam, The Netherlands, in 1988 Null Dimension, Space Gallery, Fulda, Germany, Pro-Conference in New Space Gallery, Fulda, Germany. In 2019, I also took part in the Interdiscursive Geometry - Non-Objective exhibition, Action Gallery, SMB Imielin, Warsaw, Poland, Interdiscursive Geometry - Non-Objective 2, University Gallery in Cieszyn, Poland, and in 1988 I took part in the Young Generation of Polish Constructivism, Athens, Greece, curated by my sister Elżbieta Kościelak. The exhibition was also accompanied by a catalog. During the PRO Conference and 3 PRO - Conference, international system and geometric art conferences in Fulda, Rotterdam, and Madrid I met a distinguish member of the legendary group of American Structuralism, T. Michael Stephens, the Director of the Art Research Center, and I am currently an associate member of this group.

https://en.wikipedia.org/wiki/Art_Research_Center

http://www.artresearchcentergroup.org/-statement-membership.html