El Impresionismo: Una Nueva Mirada a la Luz y el Instante
El Impresionismo, como se ha mencionado, representa una revolución en la historia del arte. Surgido en Francia en la segunda mitad del siglo XIX, este movimiento se centra en la captura de la luz y la atmósfera del momento presente, rompiendo con las convenciones académicas y abriendo camino a la modernidad.
1. Contexto Histórico:
Para comprender el Impresionismo, es crucial situarlo en su contexto. El siglo XIX es un período de grandes transformaciones sociales y tecnológicas: la industrialización, el crecimiento de las ciudades, el desarrollo del ferrocarril y la fotografía. Estos cambios influyen en la sensibilidad de los artistas, que buscan plasmar la modernidad y la fugacidad de la vida urbana.
2. La Luz y la Atmósfera:
La principal preocupación de los impresionistas es capturar la luz y su efecto sobre los objetos. Observan cómo la luz cambia a lo largo del día, modificando los colores y las formas. Para plasmar esta impresión fugaz, utilizan pinceladas rápidas y cortas, yuxtaponiendo colores puros sin mezclarlos en la paleta. El objetivo no es representar la realidad con precisión, sino la sensación visual que produce la luz.
3. Artistas Clave:
Claude Monet: Considerado el padre del Impresionismo, Monet se obsesiona con la representación de la luz. Su serie de “Nenúfares” es un ejemplo paradigmático de su técnica, donde el agua y la luz se funden en una sinfonía de colores.
Edgar Degas: Aunque comparte la preocupación por la luz, Degas se centra en la figura humana, especialmente en bailarinas y escenas de la vida urbana. Sus composiciones innovadoras y su uso del color lo convierten en un maestro del Impresionismo.
Pierre-Auguste Renoir: Conocido por sus escenas de la vida cotidiana y sus retratos, Renoir utiliza una paleta vibrante y una pincelada suelta para capturar la alegría y la belleza del mundo que lo rodea.
Camille Pissarro: Uno de los fundadores del Impresionismo, Pissarro experimenta con diversas técnicas, incluyendo el puntillismo, y se interesa por la representación de la vida rural y urbana.
4. Ruptura con la Tradición:
El Impresionismo rompe con las normas académicas de la pintura. Los artistas abandonan el taller y pintan al aire libre, “en plein air”, para capturar la luz natural. Rechazan los temas históricos y mitológicos, prefiriendo escenas de la vida moderna, paisajes y retratos. Sus obras, con su pincelada suelta y sus colores vibrantes, son inicialmente rechazadas por el público y la crítica, que las consideran inacabadas e incluso “impresionistas” (de ahí el nombre del movimiento).
5. Características del Impresionismo:
Pincelada suelta y visible: Las pinceladas son cortas y rápidas, aplicadas con libertad y espontaneidad.
Colores puros: Se utilizan colores puros, sin mezclarlos en la paleta, yuxtapuestos para crear efectos de luz y sombra.
Composición innovadora: Se exploran nuevas formas de composición, con encuadres descentrados y perspectivas inusuales.
Temas cotidianos: Se representan escenas de la vida moderna, paisajes, retratos y momentos fugaces.
6. Legado del Impresionismo:
El Impresionismo marca un punto de inflexión en la historia del arte. Su influencia se extiende a movimientos posteriores como el Postimpresionismo, el Fauvismo y el Expresionismo. Su legado es fundamental para la pintura moderna, ya que libera a los artistas de las convenciones académicas y abre un nuevo camino para la expresión artística.
En resumen, el Impresionismo, con su enfoque en la luz, la atmósfera y el instante presente, revoluciona la pintura del siglo XIX. A través de pinceladas rápidas, colores vivos y composiciones innovadoras, los impresionistas capturan la belleza fugaz del mundo que los rodea, dejando un legado fundamental para la historia del arte.
El Futurismo: Una Oda a la Velocidad y la Modernidad
El Futurismo, como bien se ha indicado, irrumpe en el panorama artístico a principios del siglo XX, proclamando un cambio radical, una ruptura con el pasado y una exaltación de la modernidad, la tecnología y la velocidad. Nacido en Italia con el Manifiesto Futurista de Filippo Tommaso Marinetti en 1909, este movimiento vanguardista se extiende rápidamente por Europa, influyendo en diversas disciplinas artísticas como la pintura, la escultura, la literatura, la música y el cine.
1. Contexto Histórico:
Para comprender el Futurismo, es fundamental situarlo en su contexto histórico. A principios del siglo XX, Europa vive un período de gran dinamismo y transformación: la industrialización avanza a pasos agigantados, las ciudades crecen, aparecen nuevas tecnologías como el automóvil y el avión, y se respira un ambiente de cambio y progreso. Este clima de modernidad y optimismo tecnológico es el caldo de cultivo del Futurismo.
2. Rechazo del Pasado:
El Futurismo se caracteriza por un rechazo radical del pasado y una exaltación del futuro. Los futuristas consideran que los museos y las academias son “cementerios” del arte y abogan por una renovación total de la cultura. “Queremos destruir los museos, las bibliotecas, las academias de todo tipo”, proclama Marinetti en su manifiesto.
3. Exaltación de la Modernidad:
Los futuristas glorifican la velocidad, la máquina, la tecnología y la violencia. El automóvil, el avión y el tren se convierten en símbolos de la modernidad y el progreso. La guerra es vista como una “higiene del mundo” y una forma de purificación. La industrialización y la vida urbana son exaltadas como expresiones del dinamismo de la época.
4. Artistas Clave:
Umberto Boccioni: Uno de los principales exponentes del Futurismo en la pintura y la escultura, Boccioni busca plasmar el movimiento y la energía de la vida moderna. Obras como “La ciudad que sube” y “Formas únicas de continuidad en el espacio” son ejemplos de su búsqueda de dinamismo y simultaneidad.
Giacomo Balla: Pionero en la representación del movimiento en la pintura, Balla utiliza líneas de fuerza, colores vibrantes y la técnica de la “cronofotografía” para capturar la velocidad y la dinámica de los objetos en movimiento. “Dinamismo de un perro con correa” es una obra emblemática de su estilo.
Carlo Carrà: Inicialmente influenciado por el Cubismo, Carrà se une al Futurismo y desarrolla un estilo personal que combina la fragmentación de las formas con la representación del movimiento. “Los funerales del anarquista Galli” es una de sus obras más conocidas.
5. Características del Futurismo:
Dinamismo y Movimiento: La representación del movimiento y la energía es un elemento central del Futurismo. Se utilizan líneas de fuerza, diagonales, planos superpuestos y la técnica de la “simultaneidad” para crear la sensación de dinamismo.
Tecnología y Modernidad: Las máquinas, los automóviles, los aviones y la vida urbana son temas recurrentes en el arte futurista.
Violencia y Guerra: La guerra es vista como una fuerza regeneradora y una expresión de la vitalidad del hombre moderno.
Ruptura con el Pasado: Se rechazan las tradiciones y las convenciones artísticas del pasado.
6. Legado del Futurismo:
El Futurismo, a pesar de su corta duración y su asociación con el fascismo en Italia, ejerce una influencia considerable en el arte del siglo XX. Su exaltación de la modernidad y la tecnología anticipa el desarrollo del arte abstracto y el arte cinético. Su impacto se extiende a la arquitectura, el diseño, la moda y la publicidad.
En resumen, el Futurismo, con su celebración de la velocidad, la tecnología y la modernidad, representa una ruptura radical con el pasado y una apuesta por el futuro. A través de obras dinámicas y llenas de energía, los futuristas capturan el espíritu de una época en transformación, dejando un legado importante en la historia del arte.
El Rococó: Elegancia y Frivolidad en la Corte Francesa
El Rococó, como bien se ha apuntado, se desarrolla en Francia durante la primera mitad del siglo XVIII, representando una evolución del Barroco hacia una estética más ligera, ornamental y hedonista. Si bien comparte con el Barroco el gusto por la ornamentación y el dinamismo, el Rococó se distingue por su delicadeza, su sensualidad y su atmósfera de galantería y frivolidad, reflejando el estilo de vida de la aristocracia francesa en la época previa a la Revolución.
1. Contexto Histórico:
El Rococó florece en la Francia del siglo XVIII, durante el reinado de Luis XV, en un período de relativa paz y prosperidad. La corte de Versalles se convierte en el epicentro de la cultura y la moda, y la aristocracia se entrega a una vida de placeres, lujo y refinamiento. El arte rococó refleja este ambiente cortesano, caracterizado por la elegancia, la frivolidad y la búsqueda del placer estético.
2. Reacción al Barroco:
El Rococó surge como una reacción al dramatismo y la grandiosidad del Barroco. Mientras el Barroco buscaba conmover e inspirar temor reverencial, el Rococó se inclina por la sensualidad, la gracia y la alegría de vivir. La temática religiosa pierde protagonismo, dando paso a escenas mitológicas, galantes y pastoriles, que reflejan el ambiente festivo y despreocupado de la corte.
3. Artistas Clave:
Antoine Watteau: Considerado el precursor del Rococó, Watteau crea un mundo de ensueño poblado de personajes elegantes y melancólicos. Sus “fiestas galantes”, como “El embarque para Citera”, capturan la atmósfera de refinamiento y nostalgia de la aristocracia.
François Boucher: Pintor de la corte de Luis XV, Boucher se especializa en escenas mitológicas y pastoriles, llenas de gracia, sensualidad y erotismo. Sus obras, como “Diana saliendo del baño” y “El triunfo de Venus”, son ejemplos del gusto rococó por la belleza femenina y la voluptuosidad.
Jean-Honoré Fragonard: Con un estilo más dinámico y vibrante, Fragonard plasma escenas de amor, juegos y erotismo con gran libertad y espontaneidad. Su obra “El columpio” es un icono del Rococó, capturando la alegría de vivir y la frivolidad de la época.
Élisabeth Vigée Le Brun: Una de las pocas mujeres pintoras que logró reconocimiento en la época, Vigée Le Brun se especializa en retratos de la aristocracia, capturando la elegancia y la sofisticación de sus modelos con gran sensibilidad.
4. Características del Rococó:
Elegancia y Delicadeza: Las formas son curvas y sinuosas, los colores son pastel y la composición es ligera y armoniosa.
Frivolidad y Galantería: Las escenas representan la vida despreocupada de la aristocracia, con temas como el amor, la música, la danza y los juegos galantes.
Sensualidad y Erotismo: La belleza femenina, la voluptuosidad y el erotismo son elementos recurrentes en el Rococó.
Ornamentación: Se mantiene el gusto por la ornamentación, pero con un carácter más ligero y delicado que en el Barroco.
5. El Rococó en la Arquitectura y el Diseño:
El Rococó también se manifiesta en la arquitectura y el diseño de interiores. Los palacios y las residencias aristocráticas se decoran con molduras, espejos, arabescos y motivos florales. Se busca crear ambientes íntimos y refinados, donde la luz y el color juegan un papel fundamental.
6. Legado del Rococó:
El Rococó, a pesar de su corta duración y su asociación con la frivolidad de la aristocracia, deja un legado importante en la historia del arte. Su influencia se extiende a la moda, la decoración y las artes decorativas. El Rococó representa una época de refinamiento estético y búsqueda del placer, y sus obras nos siguen cautivando por su elegancia, su delicadeza y su capacidad para capturar la atmósfera de una época.
En resumen, el Rococó, con su elegancia, frivolidad y sensualidad, refleja el estilo de vida de la aristocracia francesa en el siglo XVIII. A través de escenas galantes, colores pastel y formas delicadas, el Rococó crea un mundo de ensueño y placer estético, dejando un legado significativo en la historia del arte y la cultura.
Art Basel Miami Beach unveils further details of its upcoming edition, including new collaborators, exhibition concepts, and exceptional proposals across the show’s sectors
• Directed for the first time by Bridget Finn, Art Basel’s fair in the Americas will host 286 premier galleries from 38 countries and territories, set to present the best of their distinguished programs. • This show will present a refreshed artistic program, welcoming its largest cohort of new exhibitors in over a decade, as well as new curators and exhibition concepts to provide an unmissable experience for art professionals and enthusiasts. • Re-configured for its fifth anniversary, Meridians, the show’s trademark sector for monumental artworks, will be curated for the first time by Yasmil Raymond, featuring 17 large-scale projects by renowned artists from the Americas and beyond, including Alice Aycock, Rachel Feinstein, Roberto Huarcaya, Zhu Jinshi, Portia Munson, José Parlá, Lee ShinJa, and Franz West. • New details of exhibitors and projects in Kabinett, the show’s jewel-box sector for thematic presentations, are now available, as well as further information on galleries’ upcoming presentations in the Galleries, Nova, Positions, and Survey sectors, including standout proposals from newcomers and singular showcases of Modern and contemporary masters. • Conversations, Art Basel’s renowned talks program, will be curated for the first time in Miami Beach by Kimberly Bradley • Powering an exciting, region-wide art week of world-class exhibitions and events, Art Basel Miami Beach, whose Global Lead Partner is UBS, will take place from December 6-8, 2024, with VIP Preview Days on December 4 and 5.
Art Basel, the world’s premier art fair for Modern and contemporary art, is delighted to announce new details and further highlights of its 2024 edition in Miami Beach, taking place from December 6 to 8 at the Miami Beach Convention Center, with VIP Preview Days on December 4 and 5. Directed for the first time by Bridget Finn, Art Basel Miami Beach will host 286 world-class galleries from 38 countries and territories showcasing the best of their distinguished programs. Reflecting the show’s home at the continental crossroads of Miami Beach, as well as its enduring commitment to platforming artistic excellence from the region, over two-thirds of exhibitors at this year’s Art Basel Miami Beach operate spaces in the Americas. They hail from the United States, Canada, Mexico, Brazil, Argentina, Peru, Chile, Colombia, and Uruguay, joining exhibitors from Europe, Asia, the Middle East, and Africa to present an unparalleled overview of artistic production in the region. Once again, exhibitors will present the highest-quality paintings, sculptures, installations, photographs, films, new media, and editioned works by rising talents and Modern and contemporary masters across the show’s six sectors:
• Galleries, the main sector, where over 200 Modern, postwar, and contemporary art dealers from the Americas and beyond will present the full breadth of their program • Kabinett, where select galleries in the main sector exhibit thematic presentations in a distinct section of their booth • Nova, where younger galleries showcase work by up to three artists, created within the last three years • Positions, dedicated to showcases of emerging galleries and artists • Survey, where galleries present historically relevant works created before the year 2000, with the aim of broadening our understanding of the conventional art historical canon • Meridians, the show’s curated sector for large-scale projects that transcend the traditional art fair booth, introduced in 2019
The show also offers a renowned, curated program of artworld talks and debates, Conversations, open free to the public each day of the show. Under Finn’s leadership, the show will present a refreshed artistic program, introducing a new curator and exhibition concept in Meridians, as well as its largest cohort of new exhibitors in over a decade. The show stands to be thoroughly re-invigorated, with an exceptional 34 new galleries joining the fair across all sectors, and 31 exhibitors set to present in the main sector for the first time. Newcomers entering the main sector directly include: Gallery Baton (Seoul), Jan Kaps (Köln), Pearl Lam Galleries (Hong Kong, Shanghai), Leeahn Gallery (Daegu, Seoul), Martos Gallery (New York), Gallery Wendi Norris (San Francisco), and Tim Van Laere Gallery (Antwerp, Rome). The sector will feature thirteen ‘graduating’ galleries who exhibited in Nova, Positions, or Survey in 2023, with standouts including Isla Flotante (Buenos Aires), Central Fine (Miami Beach), Meredith Rosen Gallery (New York), Afriart Gallery (Kampala), Rele Gallery (Lagos, London, Los Angeles), Instituto de visión (Bogotá), Edel Assanti (London), and Daniel Faria Gallery (Toronto). Furthermore, Art Basel today reveals the participating galleries and standout projects in its jewel-box sector, Kabinett, which sees a renewed emphasis and diversity in the context of an edition focused on facilitating discovery, said Finn:
BRIDGET FINN, Director, Art Basel Miami Beach.
Courtesy of Art Basel. Photo: James Jackman.
‘We are categorically focused on the quality of exhibitors and works on view, making sure we deliver an experience that is truly unequalled the world over. Whether a first-time visitor or a seasoned fairgoer and collector, this edition has been designed with you in mind, to maximize at every turn the opportunity for surprise encounters and revelatory discoveries.’
Meridians On the occasion of its fifth anniversary, Meridians will be curated for the first time this year by Yasmil Raymond, former director of Portikus and rector of the Hochschule für Bildende Künste- Städelschule, Frankfurt and previous curator at The Museum of Modern Art, New York; Dia Art Foundation, New York; and Walker Art Center, Minneapolis. The sector will re-locate to the south end of the showfloor, flanking Nova and Positions, the sectors dedicated to emerging galleries and artists, and anchoring the contemporary art section of the fair. With a renewed focus on institutionally-minded monumental sculpture, painting, and installation, Meridians will feature 17 projects – the majority created this year, alongside key historical pieces-by renowned American and international artists, including Alice Aycock, Rachel Feinstein, Roberto Huarcaya, Zhu Jinshi, Portia Munson, José Parlá, Lee ShinJa, and Franz West. Titled ‘State of Becoming’, this iteration explores themes ranging from the unexpected contingencies of democracy to the heightened anxiety of global climate change, explains Raymond: ‘The 2024 edition of Meridians will feature large-scale works of institutional quality and ambition by a bold group of artists. The title is an allegory for the formal language embodied in the artists’ work: Some explore the physical properties of regeneration and transformation in the methods of fabrication of the work itself, while others allude conceptually to entropy and the sublimation of organic materials. In other works, the handling of space evokes ideas of crossing over or passing in-between that propose change and transcendence.’
Highlights from Meridians include: • Metal Storm (2024), a new bronze sculpture by American artist Rachel Feinstein (b. 1971), inspired by Hans Baldung Grien’s 16th-century drawing Witches, depicting three figures suspended above one another, soaring and spinning in mid-air, presented by Gagosian (New York, Basel, London, Geneva, Hong Kong, Paris, Rome). Feinstein, who was raised in Miami, will also be the subject of a major mid-career survey at The Bass Museum, on view during Art Basel Miami Beach. • A monumental photogram by Peruvian artist Roberto Huarcaya (b. 1959) from the series Amazogramas (2014-2024), taking as its subject the grandeur and precariousness of the Amazon rainforest, presented by Rolf Art (Buenos Aires). The work is the centerpiece of the Peruvian Pavilion at the 60th Venice Biennale. • From the artwork series exhibited in China’s pavilion at the Venice Biennale, Pathway (2024) by Zhu Jinshi (b. 1954), a sprawling walk-in sculpture made from 16,000 sheets of paper suspended over an armature of thin bamboo and cotton, presented by Pearl Lam Galleries (Hong Kong, Shanghai). • Goya (2024) by American artist Alice Aycock (b. 1946), a towering 10-foot-tall aluminum ribbon-like spiral sculpture, presented by Galerie Thomas Schulte (Berlin). • La Famille dans la Joyeuse Verdure (The Family in the Joyful Green) (2015-2019), a large- scale embroidery hand-stitched over a four-year period, by the Argentine artist collective Chiachio & Giannone (Leo Chiachio, b. 1969, and Daniel Giannone, b. 1964). Presented by Ruth Benzacar Galería de Arte (Buenos Aires), the work pays tribute to the LGBTQ community and Indigenous Guaraní culture. • Inspired by urban spaces and city walls, Untitled (2024), a mural-sized diptych of cursives and calligraphic strokes by Miami-born, New York-based artist José Parlá (b. 1973), presented by Ben Brown Fine Arts (London, Hong Kong, Palm Beach). The project coincides with an exhibition of new works by Parlá at Pérez Art Museum Miami, also on view during the show week. • A group of six woven tapestries by Korean fiber artist Lee ShinJa (b. 1930) from the 1980s, whose geometric compositions fuse cascades and spills of color that fall with grand verticality, presented by Tina Kim Gallery (New York). • Bound Angel (2021), an enigmatic installation by American artist Portia Munson (b. 1961), featuring an immense oval dining table dressed in a tablecloth composed of used wedding dresses and a mannequin torso evoking a bound and facelesss bride, enveloped in discarded objects in the shape of female angels, presented by P.P.O-W (New York). • Urs (2010), a freestanding painted sculpture made from epoxy resin by Austrian artist Franz West (1947-2012), part of the late artist’s Legitimate Sculptures series begun in the mid-1980s, presented by Van de Weghe (New York).
ZHU JINSHI, Rice Paper Pagoda, 2024. Fireproof rice paper, steel pipe, bamboo pole, cotton thread, LED light strips. H8.5-8.7 x dia. 3.5 m. Courtesy of the artist and Pearl Lam Galleries.
ROBERTO HUARCAYA, photogram from the series Amazogramas, 2014-2024. 30 x 1.08 m. Installation view of the Peruvian Pavilion at the 60th Venice Biennale. Courtesy of the artist and Rolf Art.
PORTIA MUNSON, Bound Angel, 2021. Found figurines, lamps, candles, string & rope, wedding gowns as tablecloth, extension cords, oval table. 4.88 x 1.73 x 1.68 m. Courtesy of the artist and P-P-O-W, New York. Photo: Lance Brewe
JOSÉ PARLÁ, Working on Pathways, 2024. Mixed media on canvas. 2.44 x 4.27 x 0.05m. Courtesy of the artist and Ben Brown Fine Arts. Photo: Rey Parlá.
CHIACHIO & GIANNONE, detail of La Famille dans la Joyeuse Verdure, 2013-2019. Realized by atelier A2. Hand embroidery with cotton, rayon, & wool yarns on canvas. 2.64 x 4.35m. Courtesy of the artist and Ruth Benzacar Galería de Arte.
Kabinett Conceived as a succession of jewel boxes dotted across the show floor, Kabinett will feature over 24 meticulously curated showcases within galleries’ main booths, with standout proposals including: • A singular presentation of wood paintings by Miriam Inez da Silva (1937-1996) that seeks to reconfigure her legacy as a narrator of Brazilian modernization processes from the 1950s to the 1990s, presented by Gomide&Co. (São Paulo). • The market debut of nearly a dozen paintings and works on paper from the 1940s by the master American Abstract-Expressionist painter Franz Kline (1910-1962) created prior to his affiliation with the New York School artists, offering rare insight into the early process and patronage of one of the most influential artists of the twentieth century, presented by Hirschl & Adler Modern (New York). • A selection of lesser-known marble and bronze sculptures by Cuban-born, Puerto Rico- based artist Zilia Sánchez (b. 1926), a singular figure of Latin American Modernism and geometric abstraction, presented by Galerie Lelong & Co. (New York, Paris). The 98-year- old artist is the subject of a major career survey currently on view at the Institute of Contemporary Art, Miami and traveling to the Museum of Puerto Rico in 2025. • A vibrant abstract landscape installation by Costa Rican artist Federico Herrero (b. 1978), comprised of new wall canvases and a site-specific floor painting created especially for the fair and inspired by the urban structures of the artist’s native San José, presented by Sies+ Höke (Düsseldorf). Galleries will furthermore present works by nearly 4,000 artists across the show’s four remaining exhibition sectors, highlights for which were announced in July. Among the many exceptional proposals this year is Helly Nahmad Gallery’s (New York) showcase of 20th-century masters including Wassily Kandinsky (1886-1944), Jean-Michel Basquiat (1960-1988), Alexander Calder (1898-1976), Jean Dubuffet (1901-1985), Pablo Picasso (1881-1973), Max Ernst (1891-1976), Fernand Léger (1881-1955), Lucio Fontana (1899-1968), and Joan Miró (1893-1983), and Meredith Rosen Gallery’s (New York) first-ever presentation in the main sector, featuring a new sculptural installation by Charlemagne Palestine (b. 1947), which the 79-year-old American artist will activate with a live musical performance during the fair. Coinciding with the centennial anniversary of the Surrealist Movement, main sector newcomer Gallery Wendi Norris (San Francisco) will present works by Cuban-born contemporary artist María Magdalena Campos– Pons (b. 1959) in dialogue with rare paintings by the canonical Spanish Surrealist Remedios Varo (1908-1963). Additionally, in Survey, two galleries will bring booths dedicated to rare works by French Surrealist women artists: a showcase of paintings by the little-known Jacqueline Lamba (1910-1993) at Weinstein Gallery (San Francisco), and a theatrical presentation featuring original photographs and books by Claude Cahun (1894-1954) at Galerie Alberta Pane (Paris, Venice). Hailing from a wide variety of geographies – from Bogotá to Toronto, Madrid, Jakarta, and beyond – outstanding proposals from newcomers across sectors abound, including Gajah Gallery’s (Singapore) booth in Survey, featuring previously unseen paintings and wood and cotton sculptures by Indonesian artist I Gusti Ayu Kadek Murniasih (b. 1966), on the subject of feminine pleasure, autonomy, and body horror; Galerie Allen’s (Paris) trio presentation in Nova, on the theme of ‘sanctuary amongst the grotesque,’ featuring paintings by Ex-Situationist Jacqueline de Jong (b. 1939), aquarium sculpture works by Trevor Yeung (b. 1988), and hand-blown glass sculptures of tongues by Tarek Lakhrissi (b. 1992) that evoke Queer gateways into safe-space backroom culture; as well as Gordon Robichaux’s (New York) showcase in Positions, with a series of shrine works by Agosto Machado derived from the artist and activist’s personal archives, marking an important introduction of the figure’s work to broader commercial audiences.
FRANZ KLINE, Elizabeth (Reclining Woman), 1949. Oil on canvas. 61 x 73.7 cm. Courtesy of Hirschl & Adler Modern.
ZILIA SÁNCHEZ, Concepto II, ca. 1998/2019. Bronze. 60.5 x 41.3 x 31.8 cm each.
Courtesy of the artist and Galerie Lelong and Co., New York.
Conversations & Cultural Programming during the show
A compelling series of live debates with art’s most exciting thought leaders, Conversations will be curated for the first time in Miami Beach by American writer, editor, and educator Kimberly Bradley. ‘This edition of Conversations takes the pulse of the art world’s many current paradigm shifts – some of them subtle, others more dramatic,’ said Bradley. ‘New tendencies, and potentials, are emerging for artists, collectors, and institutions. ‘Conversations will take place from December 5 to 7 in the Auditorium of the Miami Beach Convention Center, freely accessible to the public.
Beyond the fair halls, Art Basel Miami Beach will once again power an exciting, region-wide art week of world-class exhibitions and events taking place across Greater Miami and the surrounding areas. For the first time, Times Square Arts will bring their Midnight Moment program to Miami Beach during the show week, free to the public. The world’s largest and longest-running digital public art program showcasing work by leading contemporary artists on the electronic billboards of Times Square in New York City, Midnight Moment will present video works by 30 artists, projected nightly on the facade of Miami Beach’s SoundScape Park. Further details on the program, including dates and participating artists, will be announced in due course.
Further cultural programming includes: • The Bass Museum ‘Rachel Feinstein: The Miami Years’ ‘Ulla von Brandenburg: In Dialogue’ ‘(LA)HORDE: Heureux sous son ombre’ ‘Performing Perspectives: A Collection in Dialogue’
• Juan Carlos Maldonado Collection Forthcoming
• El Espacio 23 Forthcoming
• The Institute of Contemporary Art, Miami ‘Lucy Bull: The Garden of Forking Paths’ ‘Ding Shilun: Janus’ ‘Marguerite Humeau: *sk*/ey-‘ ‘Keiichi Tanaami: Dream Collage’ ‘Crossroads: Rubem Valentim’s 1960s’
• Locust Projects ‘Alexander Arrechea: Herramienta Desnuda (Bare Tool)’ ‘Alba Triana: Dialogue with the Primordial Sea’
• Margulies Collection at the Warehouse ‘Historic Works from the Margulies Collection 1930s-1970s’ ‘Conceptual Works 1980s-2010s’ ‘Beyond the Single Image. Spanish Photography from the Foto Colectania Collection, Barcelona’ ‘Portraits from Here to There: Alec Soth and Jason Schmidt’ ‘Featured Installation: Do Ho Suh’ ‘Mimmo Paladino: Painting and Sculpture’
• Marquez Art Projects Forthcoming
MOCA, North Miami ‘Andrea Chung: Between Too Late and Too Early’ ‘Smita Sen: Embodied’
• Norton Art Museum ‘Dragons: Commanders of Rain’ ‘Strike Fast, Dance Lightly: Artists on Boxing’ ‘Sorolla and the Sea’
• NSU Art Museum Fort Lauderdale ‘Jacqueline de Jong: Vicious Circles’ ‘Joel Meyerowitz: Temporal Aspects’ ‘Rose B. Simpson and vanessa german: IT INCLUDES EVERYONE, EVERYWHERE, ALWAYS’ ‘Cici McMonigle: Creatures for the Divine’ ‘Peter Halley: The Mirror Stage’ ‘Louis M. Glackens: Pure Imagination’ ‘House of Glackens’
• Patricia and Phillip Frost Art Museum ‘Fighters for Freedom: William H. Johnson Picturing Justice’ ‘Of what surrounds me: Amanda Bradley, Cristina Lei Rodriguez, and Mette Tommerup’
• Pérez Art Museum Miami ‘José Parlá: Homecoming’ ‘Jason Seife: Coming to Fruition’ ‘Calida Rawles: Away with the Tides’ ‘Every Sound Is a Shape of Time: Selections from PAMM’s Collection’ ‘Xican-a.o.x. Body’ ‘The Days That Build Us: Selections from PAMM’s Collection’ ‘Antonia Wright: State of Labor’ ‘Cecilia Vicuña: Quipu Gut’ ‘Beyond Representation: Performance Art Practices from the Caribbean and its Diasporas’
•Rubell Museum Forthcoming
The Legacy Purchase Program For the fifth consecutive year, the City of Miami Beach will acquire for its esteemed public art collection one standout work from an exhibiting gallery at Art Basel Miami Beach. This year, in addition to exhibitors in Nova and Positions, newcomers joining the main sector from Nova and Positions within the last four years will also be eligible for participation. Decided via public vote, the winning artwork and gallery will be announced shortly before the opening of the show. The Legacy Purchase Program further strengthens the City’s longstanding partnership with Art Basel and supports a lasting cultural legacy that celebrates art’s power to shape the future.
The CPGA-Étant Donnés Prize The Comité Professionnel des Galeries d’Art (French Professional Committee of Art Galleries, or CPGA) and Villa Albertine will join forces for the third edition of the CPGA-Etant Donnés Prize, which recognizes a major work by a contemporary French or France-based artist participating at Art Basel Miami Beach and their exhibiting gallery. The prize winner will be selected by an appointed jury of international curators and collectors and will receive a $15,000 cash prize, split equally between the artist and their gallery. In 2023, the prize was awarded to Colombian, Paris- based artist Daniel Otero Torres and mor charpentier.
NOTES TO EDITORS About Yasmil Raymond Yasmil Raymond is an independent curator. From 2020 to 2024, Raymond served as the director of Portikus and rector of the Hochschule für Bildende Künste-Städelschule, Frankfurt. Previously, Raymond served as Associate Curator in Painting and Sculpture at the Museum of Modern Art, New York (2015-2019), where she organized and co-organized projects including The Unfinished Conversation: New Work from the Collection (2017) and From the Collection: 1960-1969 (2016). From 2009 to 2014, Raymond was Curator at Dia Art Foundation, New York, where she organized exhibitions and projects with artists Allora & Calzadilla (2015), Thomas Hirschhorn (2013), Jean-Luc Moulène (2012), Yvonne Rainer (2011), lan Wilson (2015-2011), and Robert Whitman (2011), Koo Jeong A (2010), Franz Erhard Walther (2010), and Trisha Brown (2009). From 2004 to 2009, she was Associate Curator in Visual Arts at the Walker Art Center, Minneapolis, where she curated or co-curated solo exhibitions of Kara Walker, Tomas Saraceno, and Tino Sehgal, and the group exhibition Brave New Worlds (2007-2008). From 2009 to 2019, Raymond was Senior Critic in the Master of Fine Arts program at the University of Pennsylvania. Most recently, Raymond co- curated Rikritk Tiravanija: DAS GLÜCK IST NICHT IMMER LUSTIG at the Gropius Bau in Berlin. She currently sits on the Finding Committee of documenta 16. Raymond serves as a trustee of the Teiger Foundation, Dia Art Foundation, the Stephen Antonakos Foundation, and A.R.T. (Art Resources Transfer), all based in New York. She holds a BFA from The School of the Art Institute of Chicago and MA from the Center for Curatorial Studies at Bard College.
About Kimberly Bradley Kimberly Bradley is a writer, editor, and educator based in Berlin. Her writing has appeared in The New York Times, ArtReview, and many other publications. Bradley is co-editor of Navigating the Planetary, a reader on transcultural art, and has lectured at NYU Berlin and the Salzburg International Summer Academy of Fine Arts. A former curator and moderator of the talks series at Viennacontemporary, she recently moderated public events for Forecast, an international mentorship program, and curated the 2024 edition of Conversations at Art Basel in Basel.
About Art Basel Founded in 1970 by gallerists from Basel, Art Basel today stages the world’s premier art shows for Modern and contemporary art, sited in Basel, Miami Beach, Hong Kong, and Paris. Defined by its host city and region, each show is unique, which is reflected in its participating galleries, artworks presented, and the content of parallel programming produced in collaboration with local institutions for each edition. Art Basel’s engagement has expanded beyond art fairs through new digital platforms and initiatives such as The Art Basel and UBS Global Art Market Report. Art Basel’s Global Media Partner is the Financial Times. For further information, please visit artbasel.com.
Art Basel Miami Beach Selection Committee • Márcio Botner, A Gentil Carioca, Rio de Janeiro • Philippe Charpentier, mor charpentier, Paris & Bogotá • Thiago Gomide, Gomide&Co., São Paulo • Steve Henry, Paula Cooper Gallery, New York • Wendy Olsoff, P.P.O.W, New York • Susanne Vielmetter, Vielmetter Los Angeles
Sector Experts for Nova and Positions •Kibum Kim, Commonwealth and Council, Los Angeles •Leopol Mones Cazón, Isla Flotante, Buenos Aires •Nicole Russo, Chapter NY, New York
Partners Global Lead Partner of Art Basel, UBS has a long history of supporting contemporary art and artists. The firm has one of the world’s most distinguished corporate art collections. UBS seeks to advance the international conversation about the art market through its global lead partnership with Art Basel and as co-publisher of the ‘Art Basel and UBS Global Art Market Report’ and the ‘Art Basel and UBS Survey of Global Collecting’, authored by Dr. Clare McAndrew. UBS also supports some of the world’s most important arts institutions, events, and fairs. UBS provides its clients with insight into the art market, collecting, and legacy planning through its UBS Collectors Circle and UBS Art Advisory. For more information about UBS’s commitment to contemporary art, visit ubs.com/art.
Art Basel’s Associate Partner Audemars Piguet believes that creativity feeds culture, connects people, and gives purpose to our lives. Through its dedicated contemporary art programme, Audemars Piguet Contemporary, international artists are commissioned to create carte-blanche artworks across a variety of scales and media, enabling artists to explore new territories in their practice. Art Basel’s Associate Partner NetJets, the world leader in private aviation, is partnering with Art Basel to showcase emerging artists through their lounge activations at Art Basel in Basel, Paris, and Miami Beach. Art Basel is also supported globally by Hong Kong Tourism Board, BMW, Ruinart, GOAT, Quintessentially, and We are Ona. Art Basel’s Global Media Partner is the Financial Times.
Joining Art Basel Miami Beach as an Official Partner in 2024, Airbnb encourages travelers to live like a local across the Magic City, with local Hosts set to welcome thousands of artists, patrons, and enthusiasts during the show from key destinations including New York City, Washington, D.C., Paris, Nuremberg, Seoul, and Tokyo. For information on booking accommodation, please visit airbnb.com/artbaselmb2024.
As Art Basel Miami Beach’s Official Partner, Lufthansa will provide a seamless, 360-degree premium international travel experience for visitors to Miami Beach, from booking to arrival, as part of its ‘All it takes is a yes’ campaign. In addition, Lufthansa will collaborate with a leading contemporary artist to present a one-of-a-kind experience for visitors to discover onsite at Art Basel Miami Beach, further details of which will be unveiled soon.
Art Basel Miami Beach is supported by Microsoft, Lufthansa, Sotheby’s International Realty, Chubb, Solana, Rabanne, Casa Dragones and The Samsung Art Store, as well as Parley for the Oceans, Perrier, TOV, and Muuto. The show’s Official Hotel Partners are The Ritz-Carlton, South Beach, Grand Beach Hotel Miami Beach, and W South Beach. For more information, please visit artbasel.com/partner.
Art Basel & UBS School Group Program Art Basel greatly values the attendance of students and school groups at our shows. For the second year, Art Basel and UBS will partner to offer complimentary admission to Art Basel Miami Beach for registered schools, an initiative that provides enriching educational experiences in the world of Modern and contemporary art.
This year, Art Basel Miami Beach will also launch the Rosa de la Cruz Student Participation Program, in honor of the late Miami art patron and philanthropist’s legacy of championing education and public programs in contemporary art. The program will annually fund 100 students at Design and Architecture Senior High School (DASH) in Miami, Florida, of which Rosa was a passionate supporter, to visit Art Basel Miami Beach.
Important Dates
Art Basel Miami Beach 2024 VIP days (by invitation only) Wednesday, December 4, 11am to 7pm, First Choice VIP guests Wednesday, December 4, 4pm to 7pm, Preview VIP guests Thursday, December 5, 11am to 7pm, First Choice and Preview VIP guests Thursday, December 5, 4pm to 7pm, Vernissage VIP guests
Art Basel Miami Beach 2024 Public days (access with a ticket or invitation) Friday, December 6, 11am to 6pm Saturday, December 7, 11am to 6pm Sunday, December 8, 11am to 6pm
Getting to the show The City of Miami Beach will provide complimentary water taxi and shuttle services during the show week, to and from the Miami Beach Convention Center and the Miami Design District in mainland Miami. More information on these services will be available soon.
Media Information Online Online registration for press accreditation for Art Basel Miami Beach will open in late October. For more information, please visit artbasel.com/accreditation.
Press releases and images can be downloaded directly from artbasel.com/press. Journalists can subscribe to our media mailings to receive information on Art Basel.
For the latest updates on Art Basel, visit artbasel.com, find us on Facebook, or follow @artbasel on Instagram, Twitter, LinkedIn, Weibo, and WeChat.
Upcoming Art Basel shows Paris, October 18-20, 2024 Miami Beach, December 8-10, 2024 Hong Kong, March 28-30, 2025 Basel, June 19-22, 2025
Press Contacts Art Basel, May Mansour Tel. +1 646 573 8722, [email protected]
PR Representatives for Europe, the Middle East, and Africa SUTTON, Khuroum Bukhari & Joseph Lamb Tel. +44 7715 666 041, [email protected], [email protected]
PR Representatives for France Claudine Colin Communication, A Finn Partners Company, Thomas Lozinski & Aristide Pluvinage Tel. +33 (0)1 42 72 60 01, [email protected], [email protected]
PR Representatives for Asia SUTTON, Carol Lo Tel. +852 2528 0792, [email protected]
Spend a day at the museum with family and friends honoring and experiencing the rich and diverse cultures of the Hispanic and Latino communties. Create a work of art inspired by Cecilia Vicuña’s Quipu Gut, a wool sculpture on view in PAMM’s permanent collection. Experience Rosa dos Ventos, a relational sculpture developed in collaboration by Brazilian artists and psychologists Robertha Blatt and Aline Gonet, and join a communal art activity using finger weaving, facilitated by Blatt. Also, participate in a storytime reading of Daniel Matias’s newly-released book, “Emergency Quarters,” which follows the story of a young boy from Queens.
Also, participate in a storytime reading of Daniel Matias’s newly-released book, “Emergency Quarters,” which follows the story of a young boy from Queens. For the rest of the day, explore the galleries, grab a meal at Verde, or sit back and enjoy the breeze on the waterfront terrace.
Support
PAMM Free Second Saturdays are presented by PNC Arts Alive, Publix Super Market Charities, and The Edward C. Fogg, III and Lisbeth A. Fogg Charitable Trust. The program is made possible by endowed funds granted by the John S. and James L. Knight Foundation and Heckscher Foundation for Children to underwrite the museum’s broad portfolio of education programs. Together with leadership support from Miami-Dade County, these funders enable the museum to transform the lives of young people in our community through our art education programs.
Born in Miami to Cuban parents, artist José Parlá (b. 1973, Miami; lives in New York) was raised between mainland United States and Puerto Rico. Influenced by his proximity to Caribbean and Latin American countries, he developed an interest in diverse cultural traits, including Cuban music, hip hop, reggae, calligraphy, dance, and urban architecture and its decay, all of which would become recurring themes in his work. Consistent with his blended culture, Parlá is interested in hybrid forms of abstraction. Through a unique mark-making process, grounded in movement and bodily gestures, Parlá produces a painterly stream of consciousness characterized by addition, erasure, and layering. His physical and textural artistic process challenges conventional visual culture.
Pérez Art Museum Miami (PAMM) is honored to be hosting Parlá’s first solo museum exhibition in his hometown. Featuring a new series of never-before-seen works and a site-specific mural, José Parlá: Homecoming will ultimately mirror the artist’s studio. An elaborate, two-part exhibition will allow visitors to observe Parlá’s dance-like technique in real time as he paints a site-specific mural for the first iteration of the exhibition. The second iteration will see the museum gallery transformed and converted into Parlá’s studio—a room full of paint-covered tables, a lively Cuban-inspired record collection, and decades of Parla’s archival memorabilia.
In 2021, Parlá contracted a life-threatening case of COVID-19—he was hospitalized and endured a four-month coma during which he suffered a stroke and significant brain bleeding. A radical departure from the traditional use of space in a museum, this presentation not only represents a homecoming to Miami, but also marks a return to himself and his practice after this experience. Celebrating the spirit of resilience and returning to one’s roots, José Parlá: Homecoming is a testament to the profound connections among personal history, art, and creative expression. In addition to the completed mural and studio re-creation, the exhibition will also feature a number of recent works Parlá created upon his return to painting. The result is a process-focused exhibition highlighting an expressionistic painter who conscientiously engages with issues relating to Cuban and broader diasporic identity.
Organization and Support
José Parlá: Homecoming is organized by Maritza M. Lacayo, Associate Curator, with the support of Fabiana A. Sotillo, Curatorial Assistant. This exhibition is presented by Citi with supporting sponsorship from Sarah Arison and Goya Foods.
Obras de Alejandro Caiazza en el Centro Cultural William V. Musto
Obras de Alejandro Caiazza en el Centro Cultural William V. Musto
El arte es una forma poderosa de expresar la condición humana.
Lucian Freud
José Gregorio Noroño
El Centro Cultural William V. Musto, en Union City, New Jersey, está integrado por un Museo de arte, un Museo de historia, una Galería de arte y una Sala de conciertos. En esta oportunidad, el Musto tiene el honor de conceder por primera vez su prestigioso espacio de la Galería, para presentar un conjunto de obras de arte de la autoría de Alejandro Caiazza (1972), bajo el título de Repertorio mixto, obras pertenecientes a diferentes periodos de su trayectoria, que han sido expuestas en otros espacios de la localidad de Manhattan, realizadas con distintos procedimientos como el collage, por ejemplo, donde Caiazza incorpora algunos materiales como cartón y textiles, que acentúan la textura de sus composiciones, las cuales devienen en sus trabajos más recientes; es decir, que esos procesos técnicos, aplicados en sus obras anteriores, los amplía y hace más perceptibles en sus actuales propuestas con un propósito más experimental, potenciando en el espectador una experiencia visual más rica, composiciones que el público tendrá la oportunidad de conocer, en su debido momento, en los espacios de la Van Der Plas Gallery (NYC).
Este artista venezolano reside en Nueva York desde hace 14 años, ciudad donde ha desarrollado su obra, la cual ha expuesto en eventos colectivos e individuales en diferentes ciudades de América, Europa y Asia. Es oportuno hacer mención de sus exposiciones más recientes, tales como: ” Graffiti & Street Art”, Museum of Contemporary Art Cleveland (Rayburn Gallery); Julia De Burgos Cultural Art Center (Cleveland, Ohio); “Earth to Sky & the Human condition”, Van Der Plas Gallery (NYC); “4 Artists”, Winston Scott Gallery (Warwick NY); “1000 Faces”, The Silos at Sawyer Yards, Gallery 200 (Houston, Texas); “Collective Collection” Galerie Satellite (Paris, France).
La producción artística de Caiazza ─con un sello propio, sin limitaciones, de expresión visual libre y experimental─, no sólo consiste en un repertorio de procedimientos técnicos mixtos, sino también de estilos diferentes, pero emparentados y fusionados por el artista, tales como el primitivismo, el arte marginal, el art brut, la bad painting, el neoexpresionismo y algo de pop art, cuya paleta de colores se caracteriza por ser detonante, de pinceladas con acentuada gestualidad, de amplias manchas y chorreados que combina con líneas y contornos irregulares y gruesos, en algunos casos, así como acentuadas texturas logradas con recursos pictóricos y extrapictóricos.
La figura humana ─animal o híbrida, en ocasiones─, motivo recurrente en su obra, Caiazza la concibe de manera grotesca, subrayando la deformidad física y los aspectos más oscuros y absurdos de la moralidad, con una gran carga de humor e ironía, hasta llegar al grado de lo caricaturesco, como una forma de drenar abiertamente sus emociones y sentimientos, desde su yo interior.
Lo grotesco, lo caricaturesco y la ironía, son categorías estéticas a las que recurre el arte contemporáneo para desafiar las narrativas tradicionales ─valores, creencias y costumbres sociales─, para explorar, cuestionar y reflexionar sobre la condición humana, sobre la existencia en un mundo tan perturbado y deshumanizado. Artistas como Caiazza hacen uso de estos recursos de la estética contemporánea para criticar aspectos de la sociedad, la política y la cultura, mostrando así sus falsas, absurdas y destructivas acciones.
Lo grotesco, lo caricaturesco y la ironía pueden generar distintas reacciones en el espectador: risa, placer, disgusto, perturbación, horror, suspicacia o reflexión. A través de estos recursos estéticos con los que Caiazza desarrolla su discurso visual, hace cómplice al espectador, lo invita a interpretar, a reflexionar y cuestionar sus propios pensamientos, creencias, actitudes y comportamientos que inciden en sus semejantes, en su entorno sociocultural, individual y natural.
En fin, como siempre he pensado, el arte no sólo es creación y contemplación; el arte va más allá del mero virtuosismo; trasciende lo bello y decorativo para perturbarnos y hacernos reflexionar, componente que nos induce a sopesar y a actuar para transformar nuestra realidad interior y exterior. Concluyo, entonces, que sobre la base de esta idea gravita la intención estética de Alejandro Caiazza.
Jean Albert Gorin A Pioneer of Neoplasticism and Constructivism (French, 1899–1981)
Jean Gorin passed away in 1981.
Jean Gorin was a French artist who made significant contributions to the development of abstract art in the 20th century. He played a key role in both Constructivist and Concrete art movements, and his artistic journey began with a deep exploration of Piet Mondrian’s Neoplasticism and Russian Constructivism.
Born in Saint-Émilien-de-Blain in 1899, Gorin’s artistic journey began with a deep dedication to his craft. He initially studied at the Beaux-Arts in Nantes before encountering Cubism in the early 1920s in Paris, where he connected with leading avant-garde artists. A pivotal moment came in 1926 when he discovered the principles of Neoplasticism through Mondrian’s writings. Inspired, Gorin met with Mondrian and Georges Vantongerloo in Paris, immersing himself in this new artistic language.
Gorin’s first reliefs, created in 1930, marked a significant shift from flat painting to three-dimensional work. He focused on developing his ideas in relief and spatial constructions, eventually leading to architectural projects. These early explorations, which were significant in their own right, laid the groundwork for his later “space-time compositions,” which became a hallmark of his work after 1965, leaving the audience intrigued and eagerly anticipating his later works.
Gorin viewed sculpture as an open system influenced by Mondrian’s sculptural concepts. He created sculptures that could be seen through and interacted with their surroundings. Depending on the viewer’s perspective, these works offered changing shapes, images, and color constellations. A prime example is “Composition ciné-temporelle No. 72” (Museum Haus Konstruktiv), where thin, colored pieces of wood are mounted on a surface, creating a dynamic interplay of planes and lines.
While Gorin continually simplified his artistic means, he placed increasing importance on color and light. He sought a balance in the distribution of graphic elements, considering both formal and coloristic aspects.
Throughout his career, Gorin remained faithful to Theo van Doesburg’s principle of prioritizing a “spiritual community” over a “social” one, as articulated in the first issue of “De Stijl” (1917). Gorin’s belief in the synthesis of the arts, which he considered best embodied in architecture, was a cornerstone of his artistic philosophy. His reliefs can be seen as architectural models with a poetic touch.Jean Gorin was a French artist who made significant contributions to the development of abstract art in the 20th century. He played a key role in both Constructivist and Concrete art movements, and his artistic journey began with a deep exploration of Piet Mondrian’s Neoplasticism and Russian Constructivism.
Born in Saint-Émilien-de-Blain in 1899, Gorin’s artistic journey began with a deep dedication to his craft. He initially studied at the Beaux-Arts in Nantes before encountering Cubism in the early 1920s in Paris, where he connected with leading avant-garde artists. A pivotal moment came in 1926 when he discovered the principles of Neoplasticism through Mondrian’s writings. Inspired, Gorin met with Mondrian and Georges Vantongerloo in Paris, immersing himself in this new artistic language.
Gorin’s first reliefs, created in 1930, marked a significant shift from flat painting to three-dimensional work. He focused on developing his ideas in relief and spatial constructions, eventually leading to architectural projects. These early explorations, which were significant in their own right, laid the groundwork for his later “space-time compositions,” which became a hallmark of his work after 1965, leaving the audience intrigued and eagerly anticipating his later works.
Gorin viewed sculpture as an open system influenced by Mondrian’s sculptural concepts. He created sculptures that could be seen through and interacted with their surroundings. Depending on the viewer’s perspective, these works offered changing shapes, images, and color constellations. A prime example is “Composition ciné-temporelle No. 72” (Museum Haus Konstruktiv), where thin, colored pieces of wood are mounted on a surface, creating a dynamic interplay of planes and lines.
While Gorin continually simplified his artistic means, he placed increasing importance on color and light. He sought a balance in the distribution of graphic elements, considering both formal and coloristic aspects.
Throughout his career, Gorin remained faithful to Theo van Doesburg’s principle of prioritizing a “spiritual community” over a “social” one, as articulated in the first issue of “De Stijl” (1917). Gorin’s belief in the synthesis of the arts, which he considered best embodied in architecture, was a cornerstone of his artistic philosophy. His reliefs can be seen as architectural models with a poetic touch.
Jean Gorin, born in 1899, was the youngest of four children. His father was a cobbler, and the family relocated to Nort-sur-Erdre, near Nantes, in 1910. After an unsuccessful attempt at obtaining his primary school certificate, Gorin began a professional apprenticeship in Nantes and later in Paris, where he attended the Académie de la Grande Chaumière. His studies were interrupted by World War I, during which he served on the front lines.
Following the war, Gorin enrolled at the École des Beaux-Arts in Nantes in 1919. He settled in Nort-sur-Erdre in 1922, pursuing a professional career while continuing to paint. During a trip to Paris that same year, he encountered early Cubist works that influenced his artistic direction. After a period exploring Cubism, Gorin created his first abstract work in 1925. However, a significant turning point came in 1926 when he discovered the work of Piet Mondrian. This encounter with Mondrian’s work had a profound impact on Gorin, shaping his future artistic endeavors and leading to the development of his unique style.
Gorin’s pivotal involvement with the Abstraction-Création group in 1931, a significant association of abstract artists, led to an invitation to the USSR. This journey was a transformative experience for Gorin, as he was exposed to the pioneering works of the Constructivist art and architecture movement. This encounter significantly enriched his artistic vocabulary and influenced his future works.
In the postwar period, he co-founded the Salon des Réalités Nouvelles in 1946, a vital platform for abstract and non-figurative art. He later joined the Structurists, a group that emerged from the journal STRUCTURE (1958-1964), which aimed to build upon the legacy of De Stijl. Alongside artists like Charles Biederman and Anthony Hill, Gorin explored Constructivism’s theoretical and practical implications.
In 1932, Gorin traveled to the Soviet Union at the invitation of a group of intellectuals and artists, where he encountered Russian Constructivism. This experience broadened his understanding of abstract art and its possibilities. In 1934, he became a member of the steering committee of the Abstraction-Création Association.
Gorin’s work was widely exhibited, with shows at venues like the Musée des Beaux-Arts in Nantes, the Stedelijk Museum in Amsterdam, and the Centre Pompidou in Paris. These exhibitions cemented his reputation as a significant figure in 20th-century abstract art.
Gorin’s life took another turn in 1937 when he moved to Le Vésinet, sold his house in Nort-sur-Erdre, and destroyed a significant portion of his early work. With the outbreak of World War II, he was mobilized in 1939 and became a prisoner of war until 1942. During and after the war, he spent time in Grasse, managing a store for decorative objects. He later resided in Grasse (1947) and Nice (1950) for health reasons, where he continued to develop architectural projects in the Neoplastic style until 1956. Neoplasticism, a term associated with the work of Mondrian, refers to a form of abstract art that uses only straight lines and rectangular forms, typically in black, white, and primary colors. He eventually settled in Le Perreux in 1962 and later in Meudon.
Due to limited space in his studio, Gorin created sculptures primarily as scale models, which he photographed before destroying them. His artistic approach diverged from Mondrian’s strict Neoplasticism by introducing relief and gradually evolving into actual wall sculpture. He also expanded the visual vocabulary of Neoplasticism by incorporating the circle and the oblique line while maintaining the rigor of horizontal and vertical lines.
Dr. Dominique von Burg author and art critic. He wrote “Albert Jean Gorin” on his article about Jean Gorin www.hauskonstruktiv.ch/en/artists/jean-gorin
Regrettably, the specifics of Jean Gorin’s architectural projects are shrouded in mystery. While he did create architectural studies and designs, particularly in Nort-sur-Erdre and Nice, most of these remained theoretical or at the model stage. Gorin’s reputation, however, is primarily built on his paintings, reliefs, and sculptures.
Yet, we can unearth profound insights into his architectural vision from his artistic philosophy and the works he left behind, sparking a sense of anticipation and eagerness in the audience.
Neoplasticism and Architecture: Gorin’s intense engagement with Mondrian’s Neoplasticism suggests an interest in applying its principles of geometric abstraction and harmonious proportions to architecture. His designs for polychrome and abstract furniture for his home in Nort-sur-Erdre demonstrate this inclination.
Spatial Constructions: Gorin’s move into relief and three-dimensional constructions from 1930 onwards can be seen as a step towards architectural thinking. These works explored the interplay of positive and negative space, lines, and planes, much like architectural forms.
Synthesis of the Arts: Gorin’s belief in the synthesis of the arts, particularly in architecture, further emphasizes his architectural aspirations. He likely saw architecture as the ultimate expression of artistic unity, where form and function could be seamlessly integrated.
While concrete examples of realized architectural projects by Gorin are lacking, his artistic journey and philosophy reveal a fascinating evolution and a desire to extend his artistic principles into the built environment, which will intrigue and engage the reader.
2. How did Jean Gorin’s belief in the synthesis of the arts, particularly in architecture, influence his artistic philosophy?
Jean Gorin’s belief in the synthesis of the arts, particularly in architecture, profoundly shaped his artistic philosophy in several ways:
Unity of Art and Life: Gorin saw art as an integral part of life, not separate from it. He believed that art should be integrated into everyday experiences, and architecture, as the art of creating living spaces, played a crucial role in this integration.
Harmony and Balance: His pursuit of a synthesis of the arts reflected a desire for harmony and balance, mirroring his artistic style. He sought to create visually appealing works that expressed a sense of order and unity, much like a well-designed building.
Functionalism: Gorin’s focus on architecture suggests an appreciation for functionalism, the idea that form should follow function. This is evident in his reliefs, which can be interpreted as architectural models or studies in spatial organization.
Universal Principles: By applying artistic principles to architecture, Gorin sought to create a universal language of form and expression that could transcend individual disciplines. He believed the underlying principles of harmony, balance, and proportion applied to all art forms, including architecture.
Gorin’s interest in architecture also hinted at a social dimension in his artistic philosophy. He likely believed that art, particularly architecture, had the power to shape and improve society by creating harmonious and functional living spaces. His architectural designs were not just about aesthetics or functionality but also about creating spaces that fostered social interaction and harmony, reflecting his belief in the transformative power of art in society. Gorin’s belief in the synthesis of the arts, especially in architecture, provided a framework for his artistic exploration. It guided his pursuit of unity, harmony, and functionality in his works while also suggesting a broader vision of art’s role in society.
3. What did Jean Gorin focus on during his professional apprenticeship in Nantes and later in Paris?
Unfortunately, the details of Jean Gorin’s professional apprenticeships in Nantes and Paris are not widely documented, leaving a gap in our understanding and piquing the reader’s curiosity. However, considering the period and his later artistic development, he likely focused on practical skills related to decorative arts and crafts.
During the early 20th century, apprenticeships in these fields often involved:
Drawing and Design: Fundamental skills in drawing and design would have been essential for any artistic pursuit.
Painting Techniques: Learning various painting techniques, including using different mediums and color mixing, would have been crucial.
Decorative Painting: This might have included decorative painting on furniture, walls, or other objects, incorporating elements of ornamentation and design.
Craftsmanship: Developing skills in craftsmanship, such as woodworking or metalworking, could have been part of his training, especially if he was involved in creating furniture or decorative objects.
These formative apprenticeships likely equipped Gorin with a robust foundation in practical artistic skills, which he later adapted and transformed in his journey toward abstract art. Understanding the importance of these early skills can foster a deep appreciation for the evolution of his work.
Zaha Hadid’s Miami: A Legacy of Innovation and Defiance
British architecture and design firm
Zaha Hadid’s architectural legacy in Miami transcends concrete and steel. It’s a testament to a woman who shattered glass ceilings and reshaped skylines with her bold vision and unwavering determination. Though she tragically passed away in Miami in 2016, her spirit of innovation continues to inspire and challenge the city’s architectural landscape.
Hadid’s most visible mark on Miami is undoubtedly One Thousand Museum, a 62-story residential tower that stands as a testament to her signature futuristic style. Its exoskeleton, a web of flowing curves, is not just an aesthetic marvel; it’s a feat of engineering that allows for expansive, column-free interiors. This iconic structure, nicknamed the “Scorpion Tower,” has become a symbol of Miami’s embrace of cutting-edge design and Hadid’s enduring influence.
But Hadid’s legacy in Miami goes beyond One Thousand Museum. Her presence is felt in the city’s burgeoning design scene, where a new generation of architects is pushing boundaries and embracing innovation, inspired by her fearless approach. Her impact is also evident in the growing recognition of women in architecture, a field where she was a pioneer and a trailblazer.
In 2025, Miami continues to honor Hadid’s legacy through various initiatives:
The Zaha Hadid Young Architects Program: This annual program, launched by One Thousand Museum in partnership with local institutions, provides mentorship and support to emerging female architects, fostering the next generation of innovators.
“Zaha Hadid: A Celebration of Her Legacy” exhibition: This traveling exhibition, featuring Hadid’s groundbreaking designs and her impact on architecture, is scheduled to make a stop in Miami in 2025, offering a comprehensive look at her remarkable career.
The Zaha Hadid Memorial Scholarship: Established by the University of Miami School of Architecture, this scholarship supports talented female students pursuing careers in architecture, ensuring that Hadid’s legacy of empowering women in the field continues.
Zaha Hadid was a pioneering architect whose radical deconstructivist designs revolutionized the field. As the first woman to receive the prestigious Pritzker Architecture Prize in 2004, she shattered glass ceilings and left an indelible mark on the world with iconic structures like the Heydar Aliyev Centre in Baku and the MAXXI Museum in Rome.
Zaha Hadid’s impact on Miami’s architectural landscape is undeniable. Her visionary designs and unwavering spirit continue to inspire and challenge, reminding us that architecture can be a powerful force for innovation and change. As Miami continues to evolve as a global hub for design and creativity, Hadid’s legacy will undoubtedly remain a driving force, shaping the city’s skyline and inspiring generations to come.
Marjorie Jewel "Marlow" Moss fue la primera artista constructivista británica; trabajó en pintura y escultura. Constructivismo, De Stijl.
De Stijl en 2025: Un Legado Vivo en el Arte Contemporáneo y la Arquitectura
El neoplasticismo, mejor conocido como De Stijl, continúa resonando en el arte contemporáneo casi un siglo después de su nacimiento. Este movimiento artístico, fundado en 1917 en los Países Bajos, buscaba la expresión de un orden universal y armónico a través de la abstracción geométrica, el uso de colores primarios y la simplicidad formal. Hoy, en 2025, su influencia se manifiesta en diversas corrientes artísticas y en la obra de numerosos creadores contemporáneos.
Nuevas exposiciones que revitalizan el legado de De Stijl:
“De Stijl: Más allá de la abstracción” (Museo Stedelijk, Amsterdam): Esta exposición reúne obras de artistas contemporáneos que dialogan con los principios de De Stijl, explorando nuevas interpretaciones y expanendiendo sus límites. Se incluyen instalaciones, esculturas y obras digitales que replantean la relación entre forma, color y espacio.
“El Legado Vivo de De Stijl” (Tate Modern, Londres): Esta muestra se centra en la influencia de De Stijl en el diseño, la arquitectura y la moda contemporánea. Se exhiben obras de diseñadores y arquitectos que se inspiran en la estética neoplasticista para crear objetos y espacios funcionales y estéticamente impactantes.
Artistas contemporáneos que reinterpretan De Stijl:
Lia Halloran: Esta artista estadounidense utiliza la geometría y los colores primarios para crear pinturas abstractas que evocan paisajes y emociones. Sus obras se caracterizan por un equilibrio entre la precisión formal y la expresividad lírica.
Rafael Lozano-Hemmer: Este artista mexicano crea instalaciones interactivas que exploran la relación entre el arte, la tecnología y el espacio público. Sus obras, a menudo monumentales, utilizan la luz, el sonido y el movimiento para generar experiencias inmersivas que dialogan con los principios de De Stijl.
Nuevas perspectivas sobre De Stijl:
Influencia en el arte digital: La estética de De Stijl, con su énfasis en la geometría y la abstracción, ha encontrado un terreno fértil en el arte digital. Artistas contemporáneos utilizan software y tecnologías digitales para crear obras que exploran nuevas dimensiones de la forma y el color.
De Stijl y la sostenibilidad: Los principios de De Stijl, como la simplicidad, la funcionalidad y la armonía con el entorno, resuenan con los valores de la sostenibilidad. Arquitectos y diseñadores contemporáneos se inspiran en este movimiento para crear espacios y objetos que minimizan el impacto ambiental y promueven una relación más armónica con la naturaleza.
De Stijl y la arquitectura del 2025: Un legado de líneas puras y funcionalidad
El movimiento De Stijl, a pesar de haber surgido a principios del siglo XX, sigue siendo una fuente de inspiración para la arquitectura contemporánea. Sus principios de simplicidad, funcionalidad y armonía, traducidos en líneas puras, formas geométricas y colores primarios, resuenan en las construcciones del 2025, adaptándose a las necesidades y desafíos de la arquitectura actual.
La influencia de De Stijl se puede apreciar en varias tendencias arquitectónicas del 2025:
Minimalismo funcional: La búsqueda de la esencia y la eliminación de lo superfluo, características de De Stijl, se reflejan en el minimalismo funcional que caracteriza a muchas construcciones contemporáneas. Espacios diáfanos, líneas rectas y una paleta de colores reducida crean ambientes serenos y equilibrados, donde la funcionalidad es protagonista.
Integración con la naturaleza: La armonía con el entorno natural, un principio clave de De Stijl, se manifiesta en la arquitectura del 2025 a través del uso de materiales sostenibles, la incorporación de vegetación y la creación de espacios que favorecen la ventilación e iluminación natural.
Modularidad y flexibilidad: La idea de construir a partir de módulos independientes y adaptables, presente en la arquitectura de De Stijl, se ha vuelto especialmente relevante en el 2025, donde la flexibilidad y la adaptabilidad a las necesidades cambiantes son fundamentales.
Juego de planos y volúmenes: La composición dinámica de planos y volúmenes, característica de la arquitectura neoplasticista, sigue inspirando a los arquitectos contemporáneos. Fachadas con juegos de entrantes y salientes, ventanas estratégicamente ubicadas y la interacción entre espacios interiores y exteriores crean un juego visual que enriquece la experiencia arquitectónica.
Ejemplos concretos de la influencia de De Stijl en la arquitectura del 2025:
Edificios residenciales modulares: Se construyen edificios con módulos prefabricados que se pueden combinar y adaptar a las necesidades de los residentes, permitiendo una mayor flexibilidad y personalización de los espacios.
Oficinas con espacios abiertos y flexibles: Se diseñan espacios de trabajo diáfanos y multifuncionales, con divisiones móviles que permiten adaptar el espacio a las necesidades de cada momento.
Casas con patios interiores y jardines verticales: Se integran elementos naturales en el diseño de las viviendas, creando espacios de conexión con la naturaleza y favoreciendo la sostenibilidad.
De Stijl sigue siendo una fuente de inspiración para el arte contemporáneo. Sus principios estéticos y filosóficos se reinterpretan y se actualizan en la obra de artistas de diversas disciplinas, demostrando la vigencia de un movimiento que buscaba la expresión de la armonía y el equilibrio en un mundo en constante cambio.
Entre los artistas del De Stijl se encuentran el escultor George Vantongerloo y los arquitectos J.J.P. Oud y Gerrit Rietveld. Oud y Gerrit RietveldLa escuela De Stijl influyó en la escuela Bauhaus a través de Theo van Doesburg, que enseñó en la escuela Bauhaus.
