Posts Tagged ‘Carlos Cruz-Diez’

Blackpaint 454 – South American Abstracts, Magic Realism and Dead Drunk Danes

July 11, 2014

Radical Geometry at the Royal Academy

South American geometric abstract art from Brazil (Sao Paolo, Rio), Uruguay and Argentina (Montevideo and Buenos Aires) and Venezuela (Caracas).  I’m always surprised to see this sort of art, geometric and minimalist, coming from SA – I suppose I expect it to be sort of wild and profuse, colourful like the Amazon jungle; Mireilles maybe.  This exhibition is nothing like that at all; collectively, it reminded me of modernist decor in a Corbusier mansion – some of the ceramic wall plaques have overtones of the Festival of Britain.  The highlights for me were:

Brazil

Oiticica’s wobbly squares – indeed, everything on Oiticica’s wall.

oiticica1

Lygia Pape’s lovely woodcuts – surfaces of wood and unique in this company.

lygia pape

Lygia Clark’s triangular works, in a variety of formats, opening out in surprising ways.

Willis de Castro’s minimalist, single colour plaques with tiny marginal “bits”.

de castro1

Looks much better than this in the gallery.

Uruguay

Torres-Garcia’s Klee – like tablets of images.

torres-garcia

 

Venezuela 

Carlos Cruz-Diez – this is the man who does the light saturated, coloured rooms (see Blackpaint on the Hayward light show some time back).  A wall- length series of graduated coloured light slats, glass I think, or maybe perspex, to finish the exhibition.

Asger Jorn – Restless Rebel

This book of essays and great pictures about my Scando hero is a revelation; I knew he did a whole lot of different stuff – the paintings of trolls and mythic animals, the ceramics, the mosaics and murals at the house in Albisola, the illustrated books, the altered (“detourned”) kitsch pictures – but I didn’t realise that there was always a philosophical underpinning to what he did.  Even if it was – well, a bit eccentric.  He kicked off with Marxism, but wasn’t content with dialectical materialism; he invented “triolectics”, that’s three forces involved in the conflict – thesis, antithesis and something else (artistic creativity, I think).

Famously, he was a founder member of Cobra – he also contributed to the split, by taking up with Constant’s wife and alienating the Dutch contingent.  No doubt there were ideological differences too. There was his “Scandinavian Institute of Comparative Vandalism” and the liaison with Guy Debord in the Situationist International, which he funded, despite Debord’s opposition to artists’ involvement(!).

Then there was the telegram he sent to Harry Guggenheim, who had the nerve to award him a prize of $2500 in 1964: “Go to hell with your money bastard.Never asked for it.  Against all decensy mix artist against his will in your publicity….Jorn.”

So – full ideological back up throughout.  But I still like him because he did really colourful, vigorous, writhing paintings with birds and trolls and other things lurking in them and he mixed a whole load of different colours successfully, like de Kooning and Joan Mitchell, say, and of course, Karel Appel.

dead-drunk-danes

Asger Jorn, Dead Drunk Danes

Ingmar Bergman, Fanny and Alexander

This appears to be turning into the Scandinavian post – apart from all the South American stuff above, of course; but maybe there’s a connection here too.  I’d always thought Fanny and Alexander was one of those lush Visconti-type films, Death in Venice or the Leopard maybe, and was set in Russia.  Wrong – it concerns the Ekdahls, a wealthy Swedish family and it has a very dark Gothic story-line and strong elements of magic realism in it.

What it also has is a magnificent speech at the end, going for (and touching) Shakespearian once or twice: “We must live in the little world… The world is a den of thieves and night is falling….Evil breaks its chains and runs through the world like a mad dog….The poison affects us all…no-one escapes…Therefore let us be happy while we are happy…

Well, maybe more Beckett than Shakespeare, except for the last bit, of course.

Urban Art

Exhibiting tomorrow at Urban Art, Josephine Avenue, Brixton London – in the street with 200 other artists, 10.00am to 6.00pm, Sunday too.  Please come and buy the painting below and many more that have appeared in this blog.

 

 

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Islares Farewell

Blackpaint

11.07.14

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Blackpaint 385 – Light and Resurrection

March 14, 2013

More from Tate Collection at yourpaintings

Another selection of recommendations from pages 11 – 20 of the above:

Arthur Boyd, Bride Drinking From a Creek (1960).  Looks surreal, the bride in her wedding dress kneeling at the creek. a crow in a thorny thicket  to her right – ominous? – but I’ve got an idea it might be something he really had seen.

Gillian Ayres, Break Off (1961).  Another Ayres, but I love this one – reminds me of breakfast, slice of toast… see below.

gillian ayres break off

Alan Green, Check (1973).  New to me – love it.  See below.

alan green

 

Finally, John Golding, CV (1973) – see below.  Looks simple, but there’s a lot going on round the edges of the yellow bit.

John Golding; (c) John Golding; Supplied by The Public Catalogue Foundation

 

Light Show at the Hayward

Light sculptures as the name suggests; some of it just novelty, clever but no real impact.  There are, however, four or five pieces that I found striking or beautiful.  The first is Dan Flavin’s   piece from 1966 -8, Untitled (to the innovator of Wheeling Peachblow).  It’s a rectangle of neon tubing forming a “painting ” of light on the wall – very familiar, but it has grown on me over the years.  

Carlos Cruz-Diez, who was born in 1923 – for some reason, I find it surprising that old artists make these sculptures. spaces, whatever – and who over the years from 1965 has created a number of “Chromosaturations”.  They are suites of empty rooms, each infused with a different, intense colour. icy blue, red, green, yellow; in the connecting zones the colours blend.  If you look at small reflecting cubes suspended from the ceiling, the light appears to change hue – it’s your eyes adjusting.

Perhaps the most spectacular exhibit is Olafur Eliasson’s “Model for a Timeless Garden” 2011.  A pitch-black room, and a line of water features, boiling up like miniature aereated fountains in different shapes, caught in a strobe light.  There is an arcing jet of water, the droplets of which appear like suspended diamonds in the strobe.  It strikes me that one advantage these artists have is that your attention can’t wander; while you’re in that room, there is the “sculpture”, the light, and no escape.

Also worth noting are the James Turrell from 1974, Wedgework V, like a huge Albers made of light – and Bill Culbert’s Bulb Box Reflection II (1975); it took me two or three minutes to realise that the bulb in the mirror was lit up and the one it was apparently reflecting, was not.  How does he do that?

Interesting that, apart from the Eliason, these are all old pieces – it’s a historical exhibition.  Nothing new about light sculpture.

Schoenberg’ s 2nd Chamber Symphony and Elgar

Listening to the Schoenberg the other day, I noticed a repeated phrase that I thought was from an Elgar piece.  I googled “Schoenberg and Elgar” and was gratified to find a Guardian article by Tom Service in 2010; in it, Service pointed out that the opening few bars of the Nimrod Variations appears in some fragmentary Schoenberg transcriptions, almost note for note.

The phrase I think I have identified is from Elgar’s Falstaff.  It appears repeatedly, but the Schoenberg piece imbues it with a feeling of unease which is absent from the Elgar.  I don’t know enough about music to describe how he does this.  It’s a beautiful piece, not much like the twelve tone experimentation he is known for.

Ordet

This astounding film from Carl Dreher, made in Denmark in the 50s, was on TV the other day.  I recorded it and watched it from a sense of duty at first – black and white, harsh dunes landscape, devoutly believing Danish farmers, an obsessive who thinks he is Christ come again, driven mad by studying the works of Soren Kierkegaard(!).  I laughed at the absurdity at first and then found I was gripped by the story – would the daughter-in-law die after the stillbirth… yes.  Would the obsessive try to resurrect her?…yes.  Would he manage it?   not going to tell you.

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Blackpaint

14.03.13