Félix Suazo

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Félix Suazo

Curador, cubano-venezolano

Félix Suazo (La Habana, Cuba, 1966 – reside en Caracas) es un destacado profesional en el ámbito del arte contemporáneo, reconocido por su labor como profesor, crítico de arte, investigador y curador de exposiciones. Desde su llegada a Venezuela en 1991, ha contribuido significativamente al desarrollo y enriquecimiento del panorama artístico en el país.

Con una formación sólida, Félix Suazo se graduó en el Instituto Superior de Arte de La Habana (ISA) con mención en Escultura en 1990. Posteriormente, continuó su formación al completar una Maestría en Museología en la Universidad de Valladolid, España, entre octubre de 2002 y febrero de 2003, gracias a una beca otorgada por la Fundación Carolina.

A lo largo de su carrera, ha desempeñado roles de importancia en varias instituciones culturales y académicas. Entre 1997 y 2003, trabajó como investigador en la Galería de Arte Nacional (GAN) en Caracas. Posteriormente, asumió la posición de investigador en el Museo de Arte Contemporáneo de Caracas (MAC) desde 2004 hasta 2008. Desde 2008 hasta 2013, ocupó el cargo de Coordinador de Exposiciones y Curador en Periférico Caracas / Arte Contemporáneo. Además, entre 2015 y 2018, tuvo un rol destacado como Gerente de la Sala TAC en la Fundación Cultural Trasnocho, en Caracas.

Un elemento esencial en la carrera de Suazo ha sido su participación en El Anexo Arte Contemporáneo, donde es miembro del equipo gestor. Desde 2007, ha formado parte del equipo curatorial de esta institución que ha contribuido a la promoción y difusión del arte contemporáneo en Venezuela.

Félix Suazo es autor de varias publicaciones importantes que abordan temas cruciales en el arte y la política. Entre sus libros más destacados se encuentran “A diestra y siniestra. Comentarios sobre arte y política” (2005), “Umbrales de la museología” (2013) y “Panorámica. Arte Emergente en Venezuela, 2000-2012” (2014).

Además de su labor como curador y escritor, Suazo ha sido docente en la Universidad Nacional Experimental de las Artes (UNEARTE), donde ha compartido su experiencia y conocimientos con las nuevas generaciones de artistas y profesionales del arte.

En un sentido más amplio, Félix Suazo se ha destacado por su compromiso con la promoción y discusión del arte contemporáneo en Venezuela y más allá. A través de su trabajo como docente, curador, investigador y escritor, ha dejado una huella importante en la escena artística, fomentando la reflexión y el diálogo en torno al arte, la política y la sociedad contemporánea. Su labor en instituciones culturales y su contribución a la literatura sobre arte han contribuido al enriquecimiento del discurso artístico en el país y en la región.

En una entrevista con el investigador y curador Félix Suazo, el explora diversos aspectos cruciales del campo de las artes visuales en Venezuela. A continuación, se destacan los puntos más sobresalientes de la conversación:

Papel del Curador y Críticas:

Suazo sugiere que la persistente crítica hacia los curadores es una respuesta psicológica dentro del mundo del arte, donde se busca encontrar culpables para las tensiones y malestares inherentes al campo.
Señala que el arte es un sistema con rituales y responsabilidades compartidas, y que el consenso sobre la valoración de las obras es responsabilidad de varios agentes.
Hace hincapié en que las hostilidades entre diferentes actores del campo son artificiales y que el diálogo y la diferencia son esenciales para enriquecer el discurso artístico.

Democratización de los Museos:

Suazo destaca que la palabra clave en la democratización de los museos es “inclusión”, que implica no solo la participación masiva, sino también la consideración de estándares de calidad que respeten las diferencias entre los públicos.
Argumenta que las propuestas oficiales están tendiendo hacia la homogeneización en lugar de la diversificación, y enfatiza que la programación debería abarcar varias visiones del arte y la sociedad, así como fomentar estudios de propuestas desafiantes.
Subraya que la democratización implica diversificar el saber, el conocimiento y el gusto, lo cual requiere una programación variada y actividades que promuevan la apreciación profunda de las obras.

Desafíos Actuales y Reflexiones:

Señala la importancia de reflexionar sobre la metamorfosis en la crítica de arte y el reconocido vigor de las prácticas de la visualidad contemporánea en Venezuela.
Llama a cuestionar si las prácticas contemporáneas son igualmente vigorosas en todo el país y a reflexionar sobre los soportes disponibles para discutir y analizar el arte.
Sugiere que se han perdido espacios para la reflexión sistemática y que los espacios de reflexión son esenciales para la documentación y la multiplicación de opiniones.

Arte, Cultura y Política:

Argumenta que la sobrepolitización en los espacios impresos, oficiales e independientes ha descuidado el papel de la cultura como hacedora de ciudadanía y articuladora política.
Defiende la idea de que el arte y las obras hablan de universos simbólicos dentro de una sociedad, y que la cultura provee herramientas para que los ciudadanos hagan uso pleno de su independencia.

Museos y Espacios Alternativos:

Reconoce que los espacios alternativos y el arte contemporáneo son valiosos y naturales dentro de los procesos creativos del país.
Sin embargo, señala que la falta de presencia sistemática del arte contemporáneo en los museos nacionales ha dañado la valoración de la cultura visual contemporánea.
Asegura que la labor institucional museística es insustituible y que la carencia de un sistema de museos beneficia a nadie.

Resistencia a lo Contemporáneo:

Explica que la resistencia a lo contemporáneo proviene de la resistencia general hacia el arte, y que el arte contemporáneo opera de manera diferente al arte tradicional.
Subraya que los mitos en torno al arte y los artistas, como el de la torre de marfil, han sido heredados por el arte contemporáneo, pero que en realidad el artista contemporáneo aborda la realidad y muestra algo valioso.
Destaca que el arte contemporáneo es cotidiano, contextual y desafiante, y que la percepción de distancia es un mito que puede ser un punto de partida para comprenderlo mejor.

Participó en una charla titulada “Anti-Readymade: ¿contra quién?” como parte de las actividades relacionadas con la exposición “Anti-Readymade” en Espacio Monitor. La charla se llevará a cabo el miércoles 13 de septiembre en el Galpón 17 del Centro de Arte Los Galpones a las 4:00 p.m.

En esta charla, Suazo aborda la problemática permanencia del concepto de “readymade” en el ámbito intelectual y cultural contemporáneo. Señala que el “readymade” no solo se encuentra en el arte, sino también en diversas prácticas sociales, convirtiéndose en una especie de “Caballo de Troya” que desafía los dominios de la exclusividad artística y cuestiona las nociones establecidas sobre el arte. Suazo plantea una pregunta provocadora: “¿contra quién está el anti-readymade?”.

Esta charla es parte de un análisis profundo sobre el concepto de “anti-readymade” y su influencia en el mundo del arte y la cultura contemporánea. Suazo explora cómo el “anti-readymade” desafía las normas preestablecidas y cómo su presencia genera tensiones en la esfera artística. Su análisis sugiere que tanto la crítica como la admiración hacia el “anti-readymade” pueden reforzar su significado y validez.

La charla de Félix Suazo se llevará a cabo en el Galpón 17 de Los Galpones, ubicado en la 8va. Transversal con Av. Ávila de Los Chorros. La entrada será libre, y se pueden obtener más detalles a través de las cuentas de redes sociales @losgalpones y @espaciomonitor.

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Bélgica Rodríguez

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Bélgica Rodríguez

Curador venezolana

Bélgica Rodríguez se ha distinguido por su destacada y profunda labor en el ámbito del arte venezolano y latinoamericano. Su presencia abarca diversas esferas, ejerciendo roles como curadora, docente, conferencista y gestora cultural, contribuyendo de manera significativa al enriquecimiento del panorama artístico.

Con una sólida formación académica, Bélgica Rodríguez es licenciada en Letras por la Universidad Central de Venezuela. Su pasión por el arte la llevó a continuar su formación con una Maestría en Arte en el Courtauld Institute of Art de la Universidad de Londres, así como a realizar un Doctorado en Historia del Arte en la Sorbona de París. Su enfoque multidisciplinario se refleja en su diplomado en Museología y Museografía en la misma universidad parisina.

Como una experta versátil, Bélgica Rodríguez es colaboradora activa en diversas revistas internacionales de arte. Desde 1992 hasta 1994, ejerció como responsable de la Sección Arte y Arquitectura Siglos XIX y XX para el Handbook of Latin American Studies de la Biblioteca del Congreso en Washington, D.C. Además, es cofundadora de la revista Arte Plural de Venezuela, una plataforma de importancia en el diálogo artístico.

Su prolífica carrera como autora abarca más de cuarenta libros, entre los que se incluyen obras fundamentales como “Breve Historia de la Escultura en Venezuela”, “La Pintura Abstracta en Venezuela 1945-1965”, “Ramón Vásquez Brito, el Hombre el Artista” y “Figuración Fabulación en Venezuela”. Sus monografías sobre artistas icónicos como Jesús Rafael Soto y Ramón Chirino también enriquecen el panorama artístico y académico.

La impactante influencia de Bélgica Rodríguez se refleja en los reconocimientos que ha recibido. La Orden Única Universidad Central de Venezuela le fue otorgada en virtud de su destacado desempeño académico y su papel como formadora de nuevas generaciones en las artes visuales. Por su contribución al sector cultural venezolano, fue galardonada con la Orden Andrés Bello. Además, su dedicación a la investigación y promoción del arte centroamericano y salvadoreño fue reconocida con la Orden del Libertador de los Esclavos José Simeón Cañas, en Grado de Comendador, en 2007. Asimismo, la Orden Luisa Cáceres de Arismendi, otorgada por la Asamblea Legislativa del estado Nueva Esparta, destaca su destacada trayectoria y el impacto que ha tenido en la cultura venezolana.

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Jaime Saso: A Musical Fusion of Cultures and Creativity

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Jaime Saso: A Musical Fusion of Cultures and Creativity

@jaimesaso

Jaime Saso, a musical virtuoso, carries a unique background, born in Panama and raised in the cultural melting pot of Texas. This multicultural upbringing has become the bedrock of his diverse musical style, seamlessly blending genres and roles as a guitarist, producer, and singer-songwriter. Saso’s debut album, “The Levee,” stands as a testament to his ability to craft serene and introspective compositions, inspired by his global experiences. His connection to The Beatles further showcases his deep-rooted passion for artistic expression and unity.

AMM. How did your multicultural background, being born in Panama and raised in Texas, influence your musical style and songwriting?

JS. Being exposed to different cultures, languages and sounds early on in life made me curious and I’m sure led to my desire to travel the world. I’ve always listened to many different musical genres, even if I don’t understand the language. Traveling the world exposed me to even more genres, sounds, and amazing musicians. I’m sure all of this subconsciously (and sometimes intentionally) finds its way into my art.

AMM. As a musician who excels in various roles such as guitarist, producer, and singer-songwriter, how do you balance and integrate these different aspects of your musical identity?

JS. It’s hard to balance these roles sometimes, but for me, the song is king. I love songwriting probably more than any other aspect of making music, so I probably spend the most time on that. When I’m making a record, I shift into producer mode, integrating all my other skills to serve the song. Of course, I’m playing guitar through all of these roles. I wish I had the discipline to practice guitar more like I did when I was a teenager, when I just locked myself in my room and practiced for hours.

AMM. The reviews of your debut album “The Levee” have been incredibly positive, with mentions of its artistry, calmness, and well-written songs.

JS. Could you tell us about the creative process behind the album and what inspired its themes and melodies?This album is comprised of songs I’d written over many years, spanning many themes. It was the first album I produced, so I was curious to try out different sounds and recording methods. I also had a lot of different musicians play on that record, and I even composed some horn parts which was fun!

AMM. It’s clear that you have a wide range of musical influences, from classic songwriters to diverse composers and instrumentalists. How do you incorporate these varied inspirations into your music, and how does it contribute to your distinctive sound?

JS. I’d say it’s more subconscious than anything else. What goes in (to my earholes) comes out through my playing and writing. I try not to think about it too much, though my sound could probably best be classified as Americana/folk-rock.

AMM. Your love for The Beatles is evident, especially with your tradition of signing at the Strawberry Fields memorial. How have The Beatles influenced your approach to songwriting and your musical career as a whole?

JS. The Beatles were always pushing the envelope and experimenting. They were like magicians. At one point I got really deep into the music theory behind their songwriting (I got a book called “The Songwriting Secrets of the Beatles,” which just fascinated me). Their music is timeless, which is the ultimate thing to strive for as a musician. Busking at Strawberry Fields has made me a better performer, and I’ve made some great friends and met some interesting people there!

AMM. “Stephanie” has been praised as a gorgeous guitar-driven ballad with hit single potential. Can you share the story behind this song and how it came to be part of your debut LP “The Levee”?

JS. I had just moved into a new place, and upon waking up there on my first morning, I had this melody in my head, so I quickly mumbled it into my recorder so I wouldn’t forget it. Later, I came up with a guitar part for it, and the song ended up being about someone who’s lost their way.

AMM. Who was John Lennon for You? and What is John Lennon’s song “Imagine” for you?

JS. John was a genius songwriter, first and foremost. His songs have always resonated with me more than the other Beatles, though I love them all. He was really deep, a great wordsmith, and also very humorous. His song Imagine, to me, is a dream. It’s ok to dream, you are not alone. Maybe if we all dreamed more and pursued our dreams more, the world would be a better place.

AMM. On July 7th. You did the Kube Man performance series. Can you share your experiences? What did you learn from it? What did you like most about? and What is the Kube Man for you?

JS. I had a blast being Kube Man! Physically it felt a bit constricting, but I also felt liberated in a way. I realized that most people aren’t too receptive to new sights and experiences, though some definitely are! I loved seeing the fascination in people’s eyes, and the curiosity of the kids. I know I was fascinated when I first saw Kube Man while I was busking at Strawberry Fields. For me, Kube Man is a teacher with a very important lesson: We are all one. And for me, it will always be one of my favorite experiences at Strawberry Fields, since it perfectly ties into John Lennon’s message of unity, peace and love.

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August 11 is Hip-Hop Day, a time to celebrate the history and culture of one of the most influential musical genres in the world. Hip-hop, with its infectious beats, poetic lyricism, and revolutionary spirit, has carved its own niche in history. As we commemorate Hip-Hop August 11th, it’s essential to delve into the genre’s roots, its evolution, and the profound influence it continues to exert on the world of music. Hip-hop began in the Bronx in the early 1970s, when DJ Kool Herc threw a party and started extending the instrumental breaks of funk and soul songs. This led to the development of breakdancing, MCing, and graffiti, the three pillars of hip-hop culture.

Origins and Pioneers

Hip-hop emerged from the Bronx, New York, in the early 1970s as a cultural movement that intertwined music, dance, art, and social activism. The genre’s foundations were laid by influential figures like DJ Kool Herc, Grandmaster Flash, and Afrika Bambaataa, who used turntables and mixers to create innovative sounds, blending funk, soul, and rhythm and blues. August 11th serves as a symbolic reminder of the day Kool Herc hosted a legendary back-to-school party in 1973, often considered the birth of hip-hop culture.

Cultural Resonance

What began as neighborhood block parties soon blossomed into a global phenomenon. Hip-hop was more than just music; it was a platform for marginalized voices to express their struggles, aspirations, and perspectives. August 11th symbolizes this revolutionary spirit, as artists seized the opportunity to address issues like social injustice, economic disparities, and racial inequality. The genre’s lyrical prowess became a megaphone for change, amplifying voices that were often silenced.

Evolution and Innovation

Over the decades, hip-hop evolved in remarkable ways, diversifying its sound, style, and impact. The 1980s witnessed the rise of rap, as artists like Run-D.M.C., LL Cool J, and Public Enemy transformed hip-hop into a mainstream cultural force. The ’90s introduced the world to the golden age of hip-hop, characterized by intricate storytelling, complex wordplay, and genre-defying experimentation. August 11th became a beacon of creativity, inspiring artists to push the boundaries of rap and music production.

Global Reach and Contemporary Influence

As the 21st century dawned, hip-hop’s influence reached every corner of the globe. Its infectious rhythms and relatable themes resonated with people from diverse cultures and backgrounds. International artists began embracing hip-hop, infusing their own cultural elements to create a unique fusion. August 11th became a day not only to celebrate hip-hop’s American origins but also its role as a universal language that united people through shared experiences. Over the years, hip-hop has spread around the world and become a global phenomenon. It has also evolved to include a wide variety of subgenres, from old school to trap. But no matter what form it takes, hip-hop is always about expressing oneself, telling stories, and connecting with others.

Digital Age and Beyond

In the digital age, hip-hop’s impact multiplied exponentially. The advent of the internet and social media allowed emerging artists to bypass traditional gatekeepers and share their music directly with audiences. Hip-Hop August 11th now serves as an annual reminder of the genre’s power to unite, inspire, and challenge the status quo. Online celebrations, music releases, and community events pay homage to hip-hop’s rich history while looking toward an exciting future.

As we celebrate Hip-Hop August 11th, we honor the genre’s journey from its humble beginnings to its current status as a global cultural phenomenon. Hip-hop’s ability to transcend boundaries, amplify voices, and inspire change continues to shape the music landscape. August 11th stands as a testament to the genre’s enduring impact, reminding us that hip-hop is not merely a style of music, but a dynamic and transformative force that has reshaped the world of music and beyond.

Hip-Hop Day is a time to celebrate the diversity and creativity of hip-hop culture. It is also a time to reflect on the impact that hip-hop has had on the world. Hip-hop has given a voice to the marginalized and has helped to break down barriers of race, class, and gender. It has also been a force for social change, speaking out against injustice and inequality.

On Hip-Hop Day, let’s come together to celebrate this vibrant and important culture. Let’s listen to our favorite hip-hop songs, watch breakdancing battles, and admire graffiti art. Let’s also learn about the history of hip-hop and its impact on the world.

Here are some ways to celebrate Hip-Hop Day:

Listen to your favorite hip-hop songs.
Watch a breakdancing battle.
Admire graffiti art.
Learn about the history of hip-hop.
Attend a hip-hop festival or concert.
Start your own hip-hop crew.
Write a rap or poem.
Create a piece of graffiti art.
No matter how you choose to celebrate, make sure to have fun and spread the love of hip-hop!

Here are some of the pioneers of hip-hop who helped to shape the culture:

DJ Kool Herc
Afrika Bambaataa
Grandmaster Flash
The Sugarhill Gang
LL Cool J
Run-DMC
Public Enemy
The Notorious B.I.G.
Tupac Shakur
Jay-Z
These artists and many others helped to make hip-hop what it is today. They paved the way for future generations of hip-hop artists and helped to spread the culture around the world.

Hip-hop is more than just music. It is a culture that is expressed through music, dance, art, and fashion. It is a culture that is about self-expression, creativity, and community.

Hip-hop is a powerful force for good in the world. It has given a voice to the marginalized and has helped to break down barriers of race, class, and gender. It has also been a force for social change, speaking out against injustice and inequality.

On Hip-Hop Day, let’s come together to celebrate this vibrant and important culture. Let’s listen to our favorite hip-hop songs, watch breakdancing battles, and admire graffiti art. Let’s also learn about the history of hip-hop and its impact on the world.

Hip-hop’s influence on music extends far beyond its own genre, touching various musical styles and inspiring countless artists to incorporate hip-hop elements into their work. Hip-hop’s influenced neo soul, nu metal, and others. Here are some examples of different genres that have been influenced by hip-hop bits and pieces:

Pop Music: Pop artists have frequently integrated hip-hop beats and production techniques into their songs. Artists like Madonna, Britney Spears, and Justin Timberlake have all experimented with hip-hop-inspired sounds in their music, adding a fresh and urban edge to their pop hits.

R&B: R&B artists have often collaborated with hip-hop artists and incorporated rap verses into their songs. The fusion of R&B and hip-hop has given birth to a subgenre known as “hip-hop soul,” where artists like Mary J. Blige, Alicia Keys, and Usher seamlessly blend the two styles.

Electronic Music: Hip-hop’s rhythmic patterns have influenced electronic dance music (EDM) producers, who often infuse their tracks with hip-hop beats and samples. This fusion has given rise to subgenres like “trap” and “trapstep,” with artists such as Flume, Diplo, and Skrillex incorporating hip-hop elements into their electronic compositions.

Rock: Some rock bands have experimented with hip-hop-inspired rhythms and vocal delivery, creating a unique hybrid of genres. Bands like Linkin Park and Rage Against the Machine have incorporated rap vocals and hip-hop-influenced drum patterns into their rock sound.

Indie and Alternative Music: Indie and alternative artists have also drawn inspiration from hip-hop, incorporating elements like sampling, spoken word passages, and rhythmic patterns into their music. Artists like Gorillaz, Beck, and TV on the Radio have all explored this fusion of genres.

Latin Music Salsa): Hip-hop’s influence has extended to Latin music, resulting in the creation of “Latin hip-hop” or “reggaeton,” where Latin artists infuse traditional rhythms with hip-hop beats and rap vocals. Reggaeton artists like Daddy Yankee, Bad Bunny, and J Balvin have achieved international success by blending these elements.

Country Music: Even country music hasn’t been immune to hip-hop’s influence. The subgenre known as “hick-hop” or “country rap” emerged, fusing country storytelling with hip-hop production. Artists like Kid Rock and Florida Georgia Line have incorporated rap verses and hip-hop beats into their country songs.

Jazz and Funk: Hip-hop’s roots in sampling and rhythm have also found their way into jazz and funk music. Jazz and funk musicians have drawn from hip-hop’s production techniques and used sampled beats and scratches to create a modern twist on their traditional styles.

These examples showcase the incredible versatility of hip-hop’s influence, as it has seeped into a wide range of musical genres, enriching them with its rhythmic innovations, sampling techniques, and lyrical prowess. The cross-pollination of hip-hop with other genres has not only led to musical experimentation but has also contributed to the evolution of contemporary music as a whole.

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Before the deluge, who was Jean-Michel Basquiat?

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Basquiat Untitled Football_Helmet__c.1981-1984

Before the deluge, who was Jean-Michel Basquiat?

Walter Robinson remembers the legendary painter as a (very) young man

Jean-Michel Basquiat (1960–88) was by most accounts a sweet kid. He had a baby face and a distinctive walk, one foot pigeon-toed, so he was easy to spot from a block away. He was a pussycat – at least the girls said so – soft-spoken and polite. And he liked to draw.

My mother-in-law, an art teacher who still lives on New York’s Upper West Side, had a different opinion about Jean-Michel after he and her son Danny [Danny Rosen], best friends from the alternative City-as-School high school, had an art-making session at her apartment that left a mess of glue on her Oriental rug. She’d asked the boys to clean up and they hadn’t, and the dismissive glance Jean-Michel gave her stuck in her memory.

Jean-Michel Basquiat on the set of Downtown 81 © New York Beat Films LLC by the permission of the Estate of Jean-Michel Basquiat.

That adolescent ‘don’t-bother-me’ negligence metamorphosed into an obsessive creative vision. As for the scraps the boys left behind – they no doubt were crafting postcards to sell outside the Museum of Modern Art – she dumped them into a box and later threw the whole lot out. Danny’s big sister Lisa, my wife, lost her Basquiat, too – one the artist had given her as a gift. They were friends from the punk-noir Mudd Club in Tribeca. Lisa decamped in 1982 to Europe, ending up in Rome, where she in turn gave Jean-Michel’s painting to the artist Sandro Chia as a present. She thought she could always get another one.

Danny co-stars with the then-unknown (and homeless) Jean-Michel in Downtown 81, producer and writer Glenn O’Brien’s impressionistic music film. Its narrative arc – two handsome young men wander the city, hang out, go to clubs, smoke, and stay up all night – defines the downtown cultural moment of the time. Shot in 1980–81, the footage vanished into the mist for two decades, its dialogue soundtrack disappearing entirely. The film was found, restored, and officially released in 2001 with Jean-Michel’s voice wild tracked by Saul Williams, adding a special dislocation to a history now inflated into myth.

I first met Jean on the street, when he returned keys to my sometime, henna-headed French girlfriend after sleeping over at her place. Couch surfing was his thing, importuning the pretty girls for places to stay during that sexual idyll of the late 1970s, bookended between the availability of birth control and the advent of HIV/AIDS. He was a night owl, feral, and an artist from the word go, with drive and an already developed idiom. His simple but Expressionistic style – odd considering most boys his age were doing detailed copies of Marvel Comics superheroes – is rooted in graffiti and cartoons, but also arose from visits to the non-European collections at the Metropolitan Museum of Art. The 12-foot-wide 1983 triptych El Gran Espectaculo (The Nile) (1983), recently sold by fashion designer Valentino at Christie’s for USD 67 million, features – amidst its many symbolic references to the Middle Passage and the crossed-out word ‘slave’ – a rendering of a papyrus skiff, clearly the result of Jean-Michel’s visit to the museum’s Egyptian wing.

The year 1980 marked a transition for the New York art world and everyone in it. The 1960s had seen Modernism gorge itself on pop culture, pare itself down to the minimum, and finally dematerialize into an exhausted finale. The 1970s began in a kind of hangover. Everything had been done – what was left to do? One solution was to spread sideways, rhizomatically, rather than progressing ever upward or forward. New York City had barely skirted bankruptcy in 1975, with entire neighborhoods – notably the South Bronx and the Lower East Side – abandoned by landlords and the government. Light manufacturing had departed SoHo and by the 1980s, the area became the art scene’s new wellspring. Its 19th-century cast iron buildings contributed to the new aesthetic thanks to sprawling loft spaces. Jean-Michel adopted a model of art-making that used the detritus of abandoned slum lives rather than industrial castoffs.

Jean-Michel Basquiat, Boy and Dog in a Johnnypump, 1982. Private Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photograph by Daniel Portnoy.

He started with street art. Generations of graffiti artists had already taken to painting subway trains – city officials hated it, artists loved it – but with the exception of isolated exhibitions such as the 1975 ‘United Graffiti Artists’ show at Artists Space, graffiti wouldn’t begin penetrating the art market in earnest until Fun Gallery opened several years later. The art world appropriated the term ‘Graffiti art’ for the public interventions of Jean-Michel and Keith Haring, which only remotely resembled the swashbuckling spray-painted tags that had been perfected by kids from the boroughs.

Basquiat’s briefly ubiquitous graffiti tag – ‘SAMO’, in all caps, a riff on ‘same old’ – was sprayed in black on the subway system’s concrete walls and above ground on billboards and plywood boarding in the late 1970s in collaboration with Al Diaz (who carries on the legend today, documenting his work on Instagram). The graffiti was stylized block letters – his ‘E’ was three horizontal lines – and marked with the copyright symbol, an emoji avant la lettre. His short messages cynically mocked the official art scene: ‘SAMO AS A NEO ART FORM’, ‘SAMO AS AN END TO BOOSH-WAH’, and ‘SAMO FOR THE PEA BRAIN SECT’. My wife remembers a more humorous slogan: ‘SAMO PRAY FOR SOUP BUILD A FORT SET IT ON FIRE’.

Despite the satire, Jean-Michel had ambitions to become part of the above-ground art business. In June 1980, he took part in the seminal, artist-organized ‘The Times Square Show’, notably writing ‘FREE SEX’ above the doorway, which was later painted over to avoid trouble in the still-seedy Times Square district. More dramatically, in a punk fashion show featuring artists dressed in thrift shop gear, Jean-Michel stood by with a house painter’s brush and bucket, slapping paint on the models as they went by.

But by February 1981 he’d quickly morphed from street artist to establishment painter, showing at P.S. 1’s ‘New York/New Wave’ exhibition. Black culture in all its forms was Jean-Michel’s central subject, and he can be credited as a harbinger of the Black presence in art that is only now being fully acknowledged. The artist Stephen Torton, Jean-Michel’s studio assistant, describes an almost delirious, mostly nonverbal work method, characterized by abrupt shifts across the canvas and feverish free association, painting on found objects and home-stretched canvases. ‘It was rata-tat-tat,’ says Torton. The art looked immediate and almost easy. In terms of prolific production, Basquiat was a budding Warhol, but with a human touch.

Jean-Michel Basquiat, The Field Next to the Other Road, 1982. Private Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photograph by Adam Reich.

In 1988, Jean-Michel died of an accidental heroin overdose at age 27. He’d created more than 600 paintings and 1,500 drawings; an inspirational tale with a cautionary conclusion. Isn’t that the stuff of classic tragedy? Such talent, such ambition, such luck. In advance of his first major gallery show, at Annina Nosei in SoHo in May 1981, the air was abuzz with anticipation for this kid and his big brash paintings. We could feel it. We thought we had ‘good antennae’, trained to pick up what was new and important. The next year, in summer 1982, Jean-Michel, just 21, went to Italy on the invitation of gallery owner Emilio Mazzoli to produce new works for a solo exhibition. Working feverishly and intuitively as always, Basquiat painted eight canvases. The exhibition never happened, but these works, now called the Modena Paintings, are on view at Fondation Beyeler, together for the first time.

I realize now we were sensing only a rapidly approaching tsunami of fame and fortune, a flood that hasn’t let up for a minute, not even after, especially not after, the artist himself was swept away.

Jean-Michel Basquiat
‘The Modena Paintings’
Fondation Beyeler, Basel
Until August 27, 2023

Walter Robinson is an artist and writer based in New York. He cofounded Printed Matter, and with the late critic Edit DeAk edited Art-Rite magazine from 1973 to 1978. He was the editor of artnet.com magazine from 1996 to 2012. As a painter, he is represented by Air de Paris in Paris.

Originally published on June 08, 2023.

Caption for full-bleed images, from top to bottom: 1. Jean-Michel Basquiat, Boy and Dog in a Johnnypump, 1982. Private Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photograph by Daniel Portnoy. A dark filter was applied over the image for readability. 2. Jean-Michel Basquiat, Untitled (Woman with Roman Torso [Venus]), 1982. Private Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York. Photograph by Robert Bayer. 3. Jean-Michel Basquiat, The Guilt of Gold Teeth, 1982. Nahmad Collection © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York/2022, ProLitteris, Zurich. Photograph by Annik Wetter.

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Art Happy Hour – DIY Tote Bags: Unleash Your Creativity with Designer Amanda Perna

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Arts Warehouse 313 NE 3rd St, Delray Beach, FL 33444

Art Happy Hour – DIY Tote Bags: Unleash Your Creativity with Designer Amanda Perna

Phone: (561) 330-9614

Are you looking for a delightful way to unwind and tap into your artistic side? Look no further! Join us on Thursday, August 17th, from 6pm to 7:30pm, for an exciting and innovative event that combines art, design, and a touch of socializing – the Art Happy Hour – DIY Tote Bags, led by the talented Fashion Designer Amanda Perna. This unique opportunity promises an evening filled with creativity, camaraderie, and the chance to craft your very own personalized tote bag.

Unveiling the Canvas of Creativity
The event is set to take place at the Arts Warehouse, located at 313 NE 3rd Street, Delray Beach, FL 33444. As the sun begins to set and the workday draws to a close, the atmosphere will be charged with artistic energy and a sense of anticipation. This gathering is perfect for both beginners and seasoned creatives; Amanda Perna has designed the workshop to cater to all skill levels, ensuring everyone can revel in the artistic process.

An Artistic Affair
For a modest fee of $22, all the necessary materials will be provided for you to create your very own masterpiece. Amanda Perna will guide you through the process, offering insights and tips to help you bring your creative vision to life. Whether you’re an experienced artist or just dipping your toes into the world of design, this event promises to ignite your imagination and spark your passion for art.
Personalized Tote Bags: A Reflection of You
The main highlight of the event is the chance to design and craft your very own tote bag. With an array of paints, embellishments, and design elements at your disposal, the possibilities are virtually limitless. Your tote bag becomes a blank canvas, waiting for your unique touch to transform it into a work of art that reflects your style and personality.

A Sip of Inspiration
As you immerse yourself in the creative process, why not enjoy some drinks from the Arts Warehouse Bar? To keep those creative juices flowing, a selection of $6 beers and wines will be available for purchase. Sipping on your chosen beverage while working on your tote bag adds an extra layer of relaxation and enjoyment to the experience, making it an evening to remember.

A Great Time Awaits
Worried about not having a clear idea of what to create? Fret not! The Art Happy Hour – DIY Tote Bags event is all about embracing spontaneity and letting your imagination run wild. All you need to bring is a positive attitude and a willingness to have a blast. Leave your worries and stresses at the door as you step into a realm of creativity, friendship, and fun.

Seize the Moment
Whether you’re looking for a unique way to spend time with friends, a chance to explore your artistic inclinations, or simply a relaxing evening filled with creativity, the Art Happy Hour – DIY Tote Bags event is the perfect opportunity. Mark your calendars for Thursday, August 17th, and be prepared to embark on an artistic journey like no other.

Don’t miss out on this fantastic occasion to connect with your inner artist, learn from a seasoned designer, and create a tangible piece of art that you can proudly carry with you. Join us at the Arts Warehouse for an unforgettable evening of creativity, laughter, and the joy of self-expression. We look forward to seeing you there!

Grab your friends and get creative on a Thursday evening with Art Happy Hour – DIY Tote Bags. You will have the opportunity to design and create a unique tote bag using paint, embellishments, and design elements. The Arts Warehouse Bar will be open with $6 beer & wine available for purchase. Led by Designer Amanda Perna.

Items to create your custom Tote bag:

Fabric Paint
Stencils
Embellishments like gems, ribbon, beads
& more!

– All Materials will be provided, including the Fabric Tote

Deadline to register is August 18th at 5:00pm.

About the artist:

Amanda Perna is a mom, wife & fashion expert who believes in looking beyond the easy road to follow your dreams. While studying fashion design at the university of Alabama, Amanda achieved her dream: a design internship at Oscar de la Renta and the following summer an internship at Calvin Klein.

With an entrepreneurial spirit, at the ripe old age of 19 she started her first fashion brand. Before graduating college, Amanda was offered a job at Calvin Klein, which she gladly accepted and finished her studies a semester ahead of schedule to start living her dream.

Always interested in learning and growing, Amanda furthered her studies at the fashion institute of technology while working as a full time fashion designer. Although she was working her dream job, Amanda wanted more; to own her own business. She wanted to create whimsical, bold clothing and accessories. Against the advice of everyone she knew, Amanda quit her job and started the House of Perna.

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What does it take to run a gallery today?

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What does it take to run a gallery today? by Brian Boucher

‘It’s important to listen to artists’: A roundtable on current gallery models

To understand young galleries’ priorities today, Brian Boucher spoke with Hua Xiaochan of Hua International; Isabella Ritter and Katharina Schendl of LambdaLambdaLambda; and Kendra Jayne Patrick

by Brian Boucher

The world has officially entered a post-pandemic era. The Chinese government discontinued its Covid lockdowns 6 months ago, and US President Joe Biden lifted the COVID-19 state of emergency this month. Dealers have returned to a more customary schedule of exhibitions and art fairs, and, for many, sales are steady: According to The Art Market Report 2023 published by Art Basel and UBS, the market has grown to higher than its pre-pandemic level, partly driven by a 7% increase in dealer sales.

One intriguing finding from the report was that despite challenging factors including rising rents, an increasing number of galleries have locations in more than one country. While in 2021, almost 95% of dealers operated from only one location, a year later, just 71% fit that description. Art Basel recently convened a Zoom roundtable among the founders of three young galleries who reflect this trend to find out what drove them to begin a business in uneven times, what their greatest challenges are, and how they came to have their distinctive footprints.

Hua Xiaochan. Photograph by Vincent Wechselberger.

Founded in 2020 by dealer Hua Xiaochan and her husband Klaus Dierkes, Hua International simultaneously opened spaces in Berlin and Beijing. The gallery currently has a roster of just two but organizes shows with international artists.

LambdaLambdaLambda was founded Austrian duo Isabella Ritter and Katharina Schendl in 2015 in Pristina, Kosovo, becoming the city’s first international contemporary art gallery. They also show regularly at La Maison de Rendez-Vous, a shared space in Brussels they established with Misako & Rosen (Tokyo) and Park View / Paul Soto (Los Angeles), and opened a second, larger Pristina space in 2022.

Kendra Jayne Patrick’s gallery began as an itinerant space in New York in 2017 before establishing a permanent location in Bern, Switzerland. She was one of the first dealers without a long-term space to show at Art Basel when the fair changed its requirements for participation.

Left: Isabella Ritter and Katharina Schendl. Photograph by Tina Herzl. Right: Kendra Jayne Patrick in Bern, 2023. Photograph by Ernst Fischer.

Art Basel: You’re all young galleries that started in the last 8 years. By all accounts, it’s an increasingly difficult environment. What drove you to start a business in these times, and how are you faring as we enter a post-pandemic moment?

Isabella Ritter: Is there ever a good moment to start a gallery? We didn’t think about whether it was a good moment, but rather just went for it.

Katharina Schendel: The art scene in Kosovo was also vibrant and interesting to us.

Hua Xiaochan: We are a pandemic baby; we opened in September 2020. I had worked as an artist and at a gallery, and I was thinking, ‘What am I going to do to continue my concepts?’ We found great places in Berlin and Beijing. That led to the decision.

Isabella Ritter: It must have been difficult in China because [Covid lockdowns were] so much stricter.

Hua Xiaochan: The first year and a half, it was better than Europe. There weren’t lockdowns and we were able to make sales and open exhibitions. Last year was a disaster. The Chinese part of our business saved our ass a little bit. People couldn’t travel, so they had time and money to spend.

Kendra Jayne Patrick: I started a gallery for the reasons a lot of people do: because you have something to say. I wouldn’t say my gallery focuses on political art per se, but I choose artists who are plugged in to what is going on and have opinions. It’s quite a turbulent time in terms of the economy of the art world but an important time to be listening to artists, to what they want to express about our 21st-century experience.

Can you each talk about how you curate your program? How do artists come to join the gallery? Do you emphasize a varied program, or one that is more focused?

Isabella Ritter: We show local artists, though our idea was always not to be ghettoized. We are interested in artists with idiosyncratic practices, and have kind of a wild mix between local artists and those from elsewhere.

Katharina Schendel: In terms of age, we also represent the estate of an artist who was 80 when he died, and the youngest artist we represent is in his 20s.

Hua Xiaochan: I work with a super-young generation – my generation – born after 1990 and now in their 20s and 30s, and I’m looking for even younger artists. Curators and artists introduce artists to me. My program is still small because of the pandemic, because I think it’s important to meet in person, but now I can fly to meet artists. I use Instagram for research and I visit museum shows. We are working to build up a program that is not just comprised of young artists.

Kendra Jayne Patrick: I do a lot of Instagram research but at this stage there are more introductions from collectors and other gallerists, and opportunities to meet someone interesting. As for how the program comes together, even when I’m showing older artists, I think of the art that I show from a post-Internet perspective, being from a generation who are always thinking of themselves via the internet.

LambdaLambdaLambda2, Prishtina. Photograph by Leart Rama.

Where are your collectors from in terms of generation and geography? What is the balance between how you develop your collector base through online presentations, in your home cities, and at art fairs?

Kendra Jayne Patrick: That’s an interesting question for a lot of reasons. I came to the art world without a war chest or long-term family relationships in the art world, so collecting collectors for me has been a strange path. I started my program in 2018 but I began making shows in established art galleries. For example, [New York dealer] Stefania Bortolami said, ‘Why don’t you do a show in my viewing room?’ Other galleries were quite generous. Their generosity allowed me to build relationships.

Hua Xiaochan: Most of my Chinese collectors are under 30 years old. Most are well educated and they have very avant-garde tastes. European collectors are very slow, Chinese collectors are very fast. Some of our Chinese collectors buy from every exhibition – they want to grow with you.

Isabella Ritter: Since we are now in our 8th year, we have done fairs in all sorts of places, so we have quite a global collectorship. We have some experience with Asian, American, South American, and Australian collectors, and it’s interesting to see the difference in culture and buying behavior. In Europe, it’s more of an ‘Old World’ idea. People take their time. If you don’t do anything to disturb the relationship, people support you. It just takes a while. But I should add that a big portion of our collectors are institutions and they are slower than any European collector!

What are your greatest challenges in this moment?

Hua Xiaochan: The greatest challenge is to balance everything. We have been open only 3 years and we already have two locations. We need to build up a better and stronger program as soon as possible. If you get more artists and exhibitions, you get more investment. I also need to build my team. Because I have two locations, I need two teams.

Isabella Ritter: It’s a little like this for us as well. Who do you show where? How do you time exhibitions with art fair schedules? We have already reduced our art fair participation because preparation takes so much time, or the projects are too big for a fair so it makes sense to do it as an exhibition.

Kendra Jayne Patrick: For me, too, balance is a challenge. I cut my teeth in New York and now I’m here in Switzerland, which has made me only more committed to making shows in both settings. Having cross-cultural and international conversations is really important to me. I’m trying to stay lean. It feels like being nimble is the only way to survive – being open to doing things differently, in a setting you wouldn’t have considered.

Installation view of Qualeasha Wood’s artworks in Kendra Jayne Patrick’s booth at Art Basel Miami Beach 2021.

You all have interesting stories to tell in terms of place. Why did each of you think it was necessary to have your distinctive footprint?

Isabella Ritter: It’s quite evident that in Kosovo there is no art market happening, so for us it was important to be in a more central place, to show the artists we work with to a bigger audience than at an art fair.

Hua Xiaochan: Since I’m Chinese, I chose Beijing, but also Berlin, where I live. They are both capital cities. Also, both are much more open-minded to culture. There is much potential. But the two cities were never connected; there was no gallery that bridged both cities.

Kendra Jayne Patrick: My partner is Swiss, and we were in New York and the pandemic hit and we were like, ‘We’re going to Switzerland.’ I do remember agonizing a bit in 2021 when things opened up. I was ready for a permanent location but wasn’t sure where. I considered Basel, but Bern makes sense. The Swiss can be down on Bern in the same way that New Yorkers can be down on Washington, DC. It’s slow but it’s beautiful. As for my space, there is something a bit cozy about it, which feels important to me. I want visitors to feel excited to talk and share about art.

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La importancia de cometer errores y fallas en el proceso de la creación

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Black Square by Kazimir_Malevich — Black Square is an iconic painting by Kazimir Malevich.

La Importancia de Cometer Errores y Fallar: Aprendizaje y Ventajas del Ensayo y Error en el Proceso Creativo

Cometer errores y fallas es una parte natural del proceso creativo. De hecho, es a menudo a través de nuestros errores que aprendemos y crecemos como artistas. Cuando cometemos un error, somos forzados a pensar de manera crítica sobre nuestro trabajo y a encontrar nuevas formas de mejorarlo. Esto puede ser un proceso difícil, pero también es muy gratificante.

Si eres un artista, no tengas miedo de cometer errores. De hecho, alójate en ellos. Son una parte natural del proceso creativo y pueden ayudarte a aprender y crecer como artista.

Hay muchas ventajas en cometer errores y fallas. En primer lugar, nos ayuda a desarrollar nuestra creatividad. Cuando estamos abiertos a cometer errores, estamos más dispuestos a experimentar con nuevas ideas y técnicas. Esto puede llevar a la creación de obras de arte más originales e innovadoras. En segundo lugar, los errores nos ayudan a aprender y crecer como artistas. Cuando identificamos nuestros errores, podemos identificar las áreas en las que necesitamos mejorar. Esto nos permite desarrollar nuestras habilidades y mejorar nuestra obra de arte. Finalmente, los errores pueden ayudarnos a desarrollar nuestra confianza. Cuando aprendemos a superar nuestros errores, nos sentimos más seguros de nuestras habilidades como artistas. Esto nos permite ser más creativos y expresivos en nuestro trabajo.

En el vasto lienzo de la creatividad, cada trazo y pincelada representa un viaje de autodescubrimiento y expresión única. En este emocionante recorrido, los errores y las fallas, lejos de ser meros obstáculos, se revelan como valiosos tesoros que iluminan el camino hacia la maestría y la innovación. El proceso de creación, en cualquier medio de expresión, se nutre y florece a través del ensayo y error, creando un espacio fértil donde los tropiezos se transforman en escalones hacia el éxito.

El miedo al error es un compañero constante en el viaje creativo. Sin embargo, es crucial reconocer que los errores no son destinos finales, sino puntos de partida. Cada obra maestra nace de múltiples intentos, de tentativas audaces que exploran nuevos territorios de la imaginación. El ensayo y error no solo permite corregir los deslices iniciales, sino que despierta la mente a posibilidades previamente inexploradas.

Una de las grandes ventajas del ensayo y error es su potencial para acelerar el aprendizaje. A través de la acción y la corrección, se interiorizan valiosas lecciones que perduran más profundamente que cualquier teoría. Los errores ofrecen una oportunidad única para abrazar el proceso de mejora continua, puliendo habilidades y nutriendo la intuición. En la danza de la creación, cada error es un paso hacia la perfección.

El ensayo y error también forja resiliencia y agudiza la intuición. La capacidad de enfrentar errores con una mente abierta y la disposición de experimentar con audacia dan lugar a una profunda comprensión de las fortalezas personales y los desafíos por superar. La intuición, moldeada por la experiencia de errar y rectificar, se convierte en una guía confiable y un faro en el proceso creativo.

La innovación y la originalidad florecen en el terreno fértil del ensayo y error. A menudo, son los accidentes y los errores aparentes los que dan origen a soluciones innovadoras y resultados sorprendentes. En la mezcla de colores incorrecta puede yacer el matiz perfecto, y en la palabra mal escrita puede encontrarse una expresión única y conmovedora. La disposición de abrazar lo desconocido y experimentar sin restricciones es lo que desbloquea el potencial para romper barreras creativas.

En última instancia, la importancia de cometer errores y fallar reside en su capacidad para nutrir el crecimiento personal y artístico. Cada caída es una oportunidad para levantarse más fuerte y sabio, cada error es un escalón hacia la excelencia. Abrazar el ensayo y error como un amigo y un aliado en el viaje creativo transforma los obstáculos en oportunidades y convierte el lienzo de la autocrítica en un espacio de autenticidad y florecimiento.

El ensayo y error se erige como un pilar fundamental en el proceso de creación artística en cualquier medio. Los errores no son meros obstáculos, sino destinos emocionantes en el camino hacia la maestría y la innovación. La valentía de abrazar el ensayo y error desbloquea una puerta a la mejora continua, la intuición afilada y la maravilla de lo inesperado. En cada error, en cada intento, reside la posibilidad de una expresión más auténtica y una creación más profunda.

Aquí hay algunos consejos para aprender de tus errores:

No tengas miedo de experimentar. La mejor manera de aprender es haciendo. Así que no tengas miedo de probar cosas nuevas y ver qué funciona.
No te rindas. Es normal cometer errores, pero no te rindas. Sigue intentando y eventualmente encontrarás tu camino.
Pide ayuda. Si te sientes atascado, no dudes en pedir ayuda a otros artistas. Ellos pueden darte consejos y sugerencias que pueden ayudarte a mejorar tu obra de arte.
Los errores son una parte natural del proceso creativo. No los tengas miedo. Alójate en ellos y aprende de ellos. Te ayudarán a desarrollar tus habilidades como artista y a crear obras de arte más originales e innovadoras.

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Carmelo Arden Quin

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Madi International Carmelo Arden Quin

b. 1913, Rivera, Uruguay
d. 2010, Savigny-sur-Orge, France

The elements of sculpture, volumes and vacuums, interrelate in a variety of ways, forming a rich and playful range of plastic positions, all of this within geometry and non-figurativism. They are present in their own nature, without realist remnants. They are ludic, since one can choose positions in one’s own way and give it any desired form. There is no need to express, represent, or symbolize. The artistic object must be pure. Carmelo Arden Quin

Painter, sculptor, and poet. He studied painting in Santana do Livramento, Brazil. In 1935 he is drawn by the work of Joaquín Torres García. He settles in Buenos Aires in 1937 and studies Philosophy and Literature at the University. In 1944 he publishes, together with Gyula Kosice and Tomas Maldonado, among others, Arturo. Revista de Artes Abstractas which marks the start of the non-figurative movement in Argentina. A year later he co-founds the “Arte Concreto-Invención” group, and in 1946 the Madí movement. In 1950 he creates the Centre Madí Paris and in 1954 founds in Argentina, along with Aldo Pellegrini, the group Arte Nuevo, consisting of artists of non-figurative tendencies. Quin makes his first geometric non-figurative work in 1935 and in 1936, transgressing the academic framework configuration, he creates his first non-orthogonal paintings. In the 40s Quin produces articulated and mobile sculptures, polygonal framed painting-objects. Later in Paris, he makes use of collage and decoupage (emptying). In 1971, he returns to painting with black lines with bulky forms called Formes galbées (Turned forms). Among his most important solo exhibitions are: Galerie Charley Chevalier (Paris, 1973) “Retrospective 1936-1985”; Galerie des Ponchettes (Nice, 1985); Arte y Tecnología Foundation (Madrid, 1997); Durban Segnini Gallery (Miami, 2006); “A Celebration of Geometric Art, MADÍ Homage to Carmelo Arden Quin”, Leepa Rattner Museum of Art (Tarpon Springs, Florida, 2006). His works are present in different museums and collections including, among others: The Museum of Geometric and MADÍ Art (Dallas, Texas, USA); Musée d’Art Moderne (Saint-Étienne, France); Museu MADÍ de Sobral (Ceará, Brasil); Museo de Arte Latinoamericano de Buenos Aires (Argentina); Daros-Latinamerica Collection (Zurich, Switzerland); Ella Fontanals-Cisneros Collection (Miami, USA); Patricia Phelps de Cisneros Collection (Caracas, Venezuela).

Leon Tovar Gallery represents the Estate of Carmelo Arden Quin.

The art of Carmelo Arden Quin is a confounding mixture of Constructivist geometry and Dada-like zeal, a heady combination that surfaces in the playful and fluid abstractions that constitute his best-known work. Fundamental to the development of his instantly recognizable aesthetic was Arden Quin’s early fascination with the teachings of the great proselytizer of “Constructive Universalism,” Joaquín Torres-García, whom he met shortly after latter’s return to Montevideo in the mid-1930s. The Uruguayan master had been in Europe, where he was co-founder of the Cercle et Carré [Circle and Square] journal alongside Michel Seuphor, and debated the possibilities of abstract art with the likes of Piet Mondrian and Theo van Doesburg. Not only for Arden Quin, but for many artists in the Rio de la Plata, Torres-García’s role in introducing contemporary European art to Uruguay, his theory-laden radio broadcasts, and his own artwork, were groundbreaking awakenings to avant-garde practice. From Torres-García, Arden Quin took an interest in the “golden ratio”[3]—a mystical proportion used to create harmonious compositions—and was fascinated by the former’s transformable wooden “toys.” The articulated movement of these toys proved an important touchstone for Arden Quin’s later preoccupation with movement, and therefore with the ludic—or playful—as well.[4]

In 1944, Arden Quin and several others published the first and only issue of the journal Arturo, which featured manifesto-like texts and avant-garde poetry. Arden Quin’s contribution to the journal was a brief, untitled essay that outlined the pathway for a new type of art. Though emphasizing the freedom of imagination offered by Surrealism, Arden Quin argued that such an approach alone would not allow for the aesthetic progress he hoped to incite. He therefore proclaimed the necessity of a cool, scientific rationality to organize and assimilate these imaginative flights into new forms for new times. This process the artist called Invention.[5] “At best, automatism stirs the imagination,” Arden Quin wrote. “But imagination must immediately be put in check by keen artistic awareness and even cold calculations, patiently devised and applied. That will automatically lead to aesthetic creation . . . imagination, in all its contradictions, will surface; consciousness will then organize it and clear away all representative, naturalist images (even dreams) and all symbols (even the unconscious).”[6]

Among Arden Quin’s collaborators in this short-lived magazine were Tomás Maldonado, Edgar Bayley, Gyula Kosice, Torres-García, Vicente Huidobro, Lidy Prati, and Rhod Rothfuss among others. The latter’s essay interrogating and dismissing the traditional rectilinear picture plane provided a theoretical backbone for the experiments with shaped canvases embarked on by this circle of artists.[7] Arden Quin later reiterated the creative potential to be found in the non-orthogonal pictorial support in a 1945 lecture titled “The Mobile,” invoking Torres-García’s toys as well as the Italian Futurist call for dynamic painting.[8]

The mid-1940s was marked by a fracture within the loosely defined group of artists who convened around Arturo. In the coming years, two factions would spring from the journal’s collaborators—Madi (Arden Quin, Kosice, Rothfuss, and Martin Blaszko) and the Asociación Arte Concreto-Invención (Maldonado, Bayley, Enio Iommi, and Manuel Espinosa, among others). While the Madi group would not last long as a cohesive unit, their frequent issuing of proclamations and manifestos, as well as the use of exhibition models incorporating music, dancing, and poetry, has earned the group recognition as among the earliest avant-garde movements in Latin America.[9]

The Madi group officially formed in 1946 with the launch of their manifesto and the opening of their debut exhibition. The manifesto contained explicitly listed directives regarding the requirements of Madi production in each artistic medium, from Madi architecture to Madi theater. In adherence with these specifications, sculptures were to be as follows:

…three-dimensional, without color. Overall form and solid shapes with a delimited range and motion (articulation, rotation, shifting, etc.).

The requirements for painting were equally explicit:

…color and two-dimensionality. Uneven and irregular frame, flat surface, and curved or concave surface. Articulated surfaces with lineal, rotating, and changing movement.

Arden Quin’s subsequent body of work is characterized by a consistent engagement with these pre-conditions for art-making. His shaped paintings eschew any right angles in favor of the obtuse and acute, while the artist and his colleagues developed a number of innovative forms all in the name of a ludic instability: hanging mobiles; groups of movable paintings known as “coplanals”; sculptures with rearrangeable components. This especially fruitful period also saw Arden Quin’s conception of an undulating format of painting known as the “Forme Galbée.” While these paintings are stationary, their surfaces roll from concave to convex and back again in a manner conveying the sensation of motion, heightened by the optical play that occurs between the painted compositions and the undulations of the support. Arden Quin later revisited this format with new attention and vigor during the 1970s.

In 1948, following a schism within the Madi group, Arden Quin relocated to France where he would later continue to promote his strand of the movement, all the while incorporating new elements into the Madi arsenal. While Arden Quin would maintain production of irregularly shaped canvases and playful sculptures, the artist’s creativity was also fueled by his study of Georges Vantongerloo’s artwork and his bourgeoning friendship with Francis Picabia. Inspired by the former’s monochrome palette, Arden Quin likewise experimented with a reduction of his own during this period, creating what has been referred to as his “White Forms.” Reflecting on a visit to Vantongerloo’s studio, Arden Quin stated: “ . . . I hadn’t understood Mondrian, or Malevich, and even less so the Malevich of White on White. It was by observing the work of Vantongerloo that, for the first time, I was aware of that problem. Currently, with the creation of the MADI scientific movement I have blankness as an artistic basis for this new experience. For me, blank space isn’t a relationship like it is for Mondrian, nor the way emptiness is for Vantongerloo, but rather art’s essence, function, and creation.”[10]

In the mid-1950s, Arden Quin briefly returned to Buenos Aires, cofounding the Agrupación Arte Nuevo before ultimately returning to France, where, from 1958 to 1971, collage and decoupage were the artist’s medium of choice.[11] During this time, Arden Quin also dedicated himself to literary endeavors. In 1960, he cofounded with Godo Iommi a poetry group known as La Phalène, and in 1963, he inaugurated Ailleurs, a literary journal that ran until 1968. As Arden Quin’s career progressed, he incorporated new materials—plastics and metals—and maintained a strong case for the expansive possibilities of painting and sculpture until the end of his life.

The work of Carmelo Arden Quin has been included in such groundbreaking exhibitions as Latin American Artists of the Twentieth Century, Plaza de Armas, Seville (Traveled to: Centre Pompidou, Paris; Josef-Haubrich Kunsthalle, Cologne; Museum of Modern Art, New York); La Escuela del Sur: El Taller Torres García y su legado, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to: Archer M. Huntington Art Gallery, Austin; Museo de Monterry, Mexico; Art Museum of the Americas, Washington, DC; Bronx Museum of Art, New York; Museo Rufino Tamayo, Mexico City); Arte MADI, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to: Museo de Arte Extremeño e Iberoamericano, Badajoz); Beyond Geometry: Experiments in Form 1940s–70s, Los Angeles County Museum of Art (Traveled to: Miami Art Museum); Inverted Utopias, Museum of Fine Arts, Houston; A Tale of Two Worlds, Museum für Moderne Kunst, Frankfurt (Traveled to: Museo de Arte Moderno de Buenos Aires); Sur moderno: Journeys of Abstraction, Museum of Modern Art, New York. His artwork may be found in the Daros Latin American Collection, Zurich; Harvard Art Museums, Cambridge, MA; Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Museum of Modern Art, New York; Patricia Phelps de Cisneros Collection, Caracas and New York; and the Tate Americas Foundation

[1] Claudia Laudanno, “Carmelo Arden Quin: Aestheticism and Asceticism of a Madi,” Art en Colombia 93; ArtNexus 47 (2003): 60–65. This text is reproduced in Geometric Abstraction in Latin America: Anthological Texts Arte en Colombia/ArtNexus (Bogota: ArtNexus, 2013), 69–70.

[2] Ibid., 68–70.

[3] Shelley Goodman, When Art Jumped Out of its Cage (Dallas, TX: MADI Museum and Gallery, 2004), 45–48. See also Gabriel Perez-Barreiro, “Buenos Aires: Breaking the Frame” in The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection, exh. cat. (Austin, TX: The Blanton Museum, 2007), 36.

[4] Laudanno, “Carmelo Arden Quin,” 69. See also, Shelley Goodman, When Art Jumped Out of its Cage, 48, and Santiago B. Olmo, “The Madi Art Labyrinth: Museo Nacional Centro de Arte Reina Sofia, Madrid,” Arte en Colombia 72; ArtNexus 26 (1997): 119–121. This text is reproduced in Geometric Abstraction in Latin America, 36.

[5] María Amalia García, “Arturo Magazine and the Manifold Power of the Avant-Garde,” in Arturo, facsimile (Buenos Aires: Fundación Espigas, 2018), 33–34.

[6i] Carmelo Arden Quin, untitled text, Arturo, facsimile (Buenos Aires: Fundación Espigas), 49.

[7] Cristina Rossi, “Invention and Movement,” in Kinesthesia: Latin American Kinetic Art, 1954–1969, exh. cat. (Palm Springs, CA: Palm Springs Art Museum, 2017), 66.

[8] Laudanno, “Carmelo Arden Quin,” 68, 69.

[9] Perez-Barreiro, “Buenos Aires: Breaking the Frame,” 36.

[10] Quoted in Rossi, “Invention and Movement,” 76.

[11] Alexandre de la Salle, “Quelques expositions d’Arden Quin et de Madi entre 1958 et 2008,” in Carmelo Arden Quin (Cagnes-sur-mer, France: Editions L’image et la parole, 2008), 259.

Selected Solo and Two-Person Exhibitions
2018 Carmelo Arden Quin: La Utopía Modernista, Simões de Assis Galería, São Paulo
Carmelo Arden Quin: Invention, Leon Tovar Gallery, New York
2017 Carmelo Arden Quin: Obras 1940–2010, Vermeer Galería de Arte, Buenos
Aires
2014 Arden Quin: Retrospective Exhibition 1938–2009, Durban Segnini Gallery, Miami
Carmelo Arden Quin: A invencão lúdica: Décadas de 1940–2000, Simões de Assis Galería,
Curitiba, Brazil
2013 Carmelo Arden Quin: Paintings, Collages, Mobiles, 1930s to 1970s, Sicardi Gallery, Houston
Arden Quin: La Invención Lúdica, Museo Provincial de Bellas Artes Franklin Rawson, San
Juan, Argentina
2012 Carmelo Arden Quin, Galería del Paseo, Punta del Este, Uruguay
2010 Carmelo Arden Quin/La Vanguardia Rioplatense, Spanish Cultural Center, Montevideo
2007 Carmelo Arden Quin, Drouart Gallery, Paris
Coplanales 1946–2007, Fondo Nacional de las Artes, Buenos Aires
2005 Carmelo Arden Quin: MADI pinturas | objetos, Museo de Arte Contemporáneo,
Universidad Nacional del Litoral, Santa Fe, Argentina
2001 Confrontaciones: Carmelo Arden Quin y Enio Iommi, Galería Del Infinito, Buenos Aires
2000 Arden Quin en Argentina, Museo de Arte Contemporaneo Latinoamericano, La Plata,
Argentina
1999 Franka Berndt Gallery, Paris
1998 Carmelo Arden Quin. Pinturas y objetos 1945–1995, Galería Ruth Benzacar, Buenos Aires
1997 Arden Quin, Fundación Arte y Tecnología, Madrid
1995 Continuidad MADI, Centoira Gallery, Buenos Aires
1994 Arden Quin: Oeuvres, 1934–1994, Esplanade Gallery, School of Fine Arts, Metz, France
1992 Arden Quin et Madi, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
1990 Arden Quin: Recent Works, Keller Gallery, Paris
1989 Carmelo Arden Quin: Collages 1950–1960, Galerie Down-Town, Paris
Arden Quin: 1936–1952, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1988 Arden Quin: Formes Galbées, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
Franka Berndt Gallery, Paris
1987 Arden Quin, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
Arden Quin, Galerie Down-Town, Paris
1986 Cincron Centro Culturale Arte Contemporanea, Brescia, Italy
1985 Arden Quin: 1936–1985, Galerie des Ponchettes, Musées de Nice, France
Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1983 Hommage de Carmelo Arden Quin à l’Occasion de son 70ème Anniversaire, L’Espace LatinoAméricain, Paris
Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1981 Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1979 Galerie 30, Paris
Galeria-Association Lieu 5, Vieux Nice, France
1978 Retrospective, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1977 Arden Quin, Oeuvres 1942–1977, Galerie Quincampoix, Paris
1973 Arden Quin, Collages, Découpages, Galerie Charley Chevalier, Paris
1954 Exhibition of collages and cut outs, home of Dr. E. Rolla, Buenos Aires

Selected Group Exhibitions
2019 Outlines, Leon Tovar Gallery, New York
2017 Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de
Cisneros, J. Paul Getty Museum, Los Angeles
2016 Homenaje a los 70 años Madi, Vermeer Galería de Arte, Buenos Aires
2014 Radical Geometry: Modern Art of South America From the Patricia Phelps de Cisneros
Collection, Royal Academy of Arts, Lodon
2012 Cor e Forma III, Simões de Assis Galeria, Curitiba, Brazil
2011 International Contemporary Masters, Abigail Galéria, Budapest
América Fría: La Abstracción Geométrica en Latinoamérica (1934–1973), Fundaciòn Juan
March, Madrid
MADI Internacional: Argentina, Brasil, Uruguay, Palais de Glace, Palacio Nacional de las
Artes, Buenos Aires
Conscience polygonale, Château de Carros, Nice, France
Geometrie di luce, Palazzo della Vicaria, Trapani, Italy
MADI: Carmelo Arden Quin and Co., Musée d’art et d’histoire de Cholet, France
2010 MADI Internacional, Laura Haber Art Gallery, Buenos Aires
2008 Mouvement MADI International, Maison de l’Amérique Latine, Paris
2007 Madi noir et blanc, Paris-Mauberge, France
Espace MADI, Galerie des Wantiers, Valenciennes, France
The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros
Collection, Blanton Museum of Art, The University of Texas, Austin (Traveled to: Grey
Art Gallery, New York University)
2005 Madi Art, Optic and Kinetic Exhibition, Durban Segnini Gallery, Miami
L’oeil moteur: Art optique et cinétique, 1950–1975, Musée d’Art Moderne et
Contemporain de Strasbourg, France
2004 7 International Madi Artists, Durban Segnini Gallery, Miami
Inverted Utopias, Museum of Fine Arts, Houston
Beyond Geometry: Experiments in Form 1940s–70s, Los Angeles County Museum of Art
(Traveled to: Miami Art Museum)
2003 Movimiento MADI Internacional, Museo de Arte Contemporáneo Latinoamericano, La
Plata, Argentina (Traveled to: Centro Cultural Borges, Buenos Aires)
Arte Abstracto Argentino—Arte Concreto Invención, Fundación Proa, Buenos Aires
2002 Festival Kassak et MADI aujourd’hui, Galéria Z, Mesaké Múzeum, Bratislava, Umenia
Gallery, Slovakia
2001 Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection, Fogg
Art Museum at Harvard Univertiy, Cambridge, MA
ARTE Madi Freie Geometri, Emilia Suciu Gallery, Ettlingen, Germany
MADI: Outside the Box, Polk Museum of Art, Lakeland, FL
Abstract Art from the Rio de la Plata: Buenos Aires and Montevideo, The Americas Society,
New York
2000 Arte MADI, Palazzo Reale di Portici, Naples, Italy
Art Concret, Espace de ‘Art Concret, Mouans-Sartou, France
1997 Arte MADI, Museo Nacional Centro de Arte Reina Sofía, Madrid (Traveled to:
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, Spain)
Bienal de Mercosur, Porto Alegre, Brazil
1996 MADI Internacional: 50 Años Después, Ibercaja Bank, Zaragoza, Spain
1995 Arte MADI, anterioridad y continuidad, Museo Torres García, Montevideo
1994 Art from Argentina, 1920–1994, Museum of Modern Art, Oxford (Traveled to: Royal
College of Art, London; and the Centro Cultural Borges, Buenos Aires)
1992 Abstraction géometrique, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
Latin American Artists of the 20th Century, Antigua Estacion de Armas in Seville, Spain
(Traveled to: Centre Georges Pompidou, Paris; Ludwig Museum, Josef-HaubrichKunsthalle, Cologne, Germany; Musem of Modern Art, New York)
1991 Arte Concreto Invención, Arte Madi, Haus für Konstrucktive und Konkrete Kunst, Zurich:
(Traveled to: Galerie Lahumière, Paris, with a condensed presentation at Rachel Adler
Gallery, New York)
La Escuela del Sur: El Taller Torres García y su legado, Museo Nacional Centro de Arte
Reina Sofía, Madrid (Traveled to: Archer M. Huntington Art Gallery, Austin, TX; Museo
de Monterry, Mexico; Art Museum of the Americas, Washington, DC; the Bronx
Museum of Art, New York; Museo Rufino Tamayo, Mexico City)
1990 Ambivalences, Galerie Alexandre de la Salle, Saint-Paul de Vence, France
Art Construit, Galerie Convergence, Paris
1989 Art in Latin America: The Modern Era, 1820–1980, Hayward Gallery, London (Traveled to:
Palacio de Velasquez, Madrid)
1987 9 artistas del Espacio Latinoamericano de París, Del Retiro Galería de Arte, Buenos Aires
Abstraction Geometrique, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1985 Madi group show, Cultural Affairs Committee of UNESCO, Paris, France.
1984 Face á la Machine, L’Espace Latino-Américan, Paris
I Havana Biennial
Madi Maintenant: Sortie du Rectangle, Galerie Alexandre de la Salle, Saint-Paul-de-Vence,
France
Madi group show, Il Salotto Gallery, Como, Italy
Madi group show, Luisella d’Alessandro Gallery, Turin, Italy
MADI group show, Galerie Alexandre de la Salle, Nice, France
1982 Mouvances, MADI, Espace Donguy, Paris
Group show, Galerie Alexandre de la Salle, Saint-Paul-de-Vence, France
1981 20 Artistes Latino-Américains, Hotel de Ville, Arcueil, France
1980 Vanguardias de la década del 40. Arte concreto invención-arte MADI-perceptismo, Museo
Sivori, Buenos Aires
1976 Homenaje a la Vanguardia Argentina: Decada del 40, Galería Arte Nuevo, Buenos Aires
1968 Group show, Alexandre de la Salle Gallery, Place Godeau, Vence, France
1967 Exhibition of Madí poems and books, Librairie David, l’Odeon, Paris
1964 50 años de “Collages,” Papiers Collés, Musée d’Art et d’Industrie, Saint-Étienne Museum,
France
1962 Del arte concreto a la nueva tendencia, Museo de Arte Moderno, Buenos Aires
1961 150 años de arte argentino, Museo Nacional de Bellas Artes, Buenos Aires
1959 Pientres et Sculpteurs Argentins en France, Centre Culturel Artistique du Comité FranceAmérique, Paris
1958 Panorama de la Escultura Non Figurativa Argentina, Asociación Estímulo de Bellas Artes,
Buenos Aires
1956 XI Salon des Réalités Nouvelles, Paris
Pintura y Escultura non Figurativa, Museo de Artes Plasticas Sivori, Buenos Aires
1955 X Salon des Réalités Nouvelles, Paris
Salón de Arte Nuevo non Figurativo, Galería Van Riel, Buenos Aires
1954 IX Salon des Réalités Nouvelles, Paris
1953 Madi group show, Galerie de l’Odeon, Paris
VIII Salon des Réalités Nouvelles, Paris
1952 VII Salon des Réalités Nouvelles, Paris
Primera Exposición Internacional de Arte, Galería Cuatro Puntos, Caracas
Diagonale, Denise René Gallery, Paris
1951 VI Salon des Réalités Nouvelles, Paris
Espace-Lumière, Galérie Suzanne Michel, Paris
1950 Madí group show, Colette Allendy Gallery, Paris; the show is reinstalled at the V Salon
des Réalités Nouvelles, Paris
1949 1ère Exposition des Artistes d’Amerique Latine a Paris, Maison de l’Amérique Latine, Paris,
France.
IV Salon des Réalités Nouvelles, Paris
Segundo Salón de Arte No Figurativo, Abstracto, Concreto, Madi, Madinemsor, Galería Van
Riel, Buenos Aires
1948 Exposición de Pintura Argentina, Centro Cultural y Deportivo Israelita, Ramos
Mejía, Provincia de Buenos Aires
Exposición Arte Madí, house of Martín Blaszko, Buenos Aires
III Salon des Réalités Nouvelles, Paris
Nuevas Realidades, Arte Abstracto Concreto, Galería Van Riel, Buenos Aires
1947 Primera Muestra de Arte Nuevo (Joven Pintura Argentia), Salón Kraft, Buenos Aires
Segunda Muestra de Arte Nuevo, Galeria Payer, Buenos Aires
1946 Primera Exposición del Grupo MADI, French Institute of Higher Education, Galería Van
Riel, Buenos Aires
Segunda Exposición de Arte MADI, Escuela Libre de Artes Plásticas Altamira, Buenos Aires
Tercera Exposición de Arte MADI, Bohemian Club, Galerías Pacífico, Buenos Aires
Primera Exposición Internacional de Arte MADI, Ateneo of Montevideo
1945 Primera Exposición de Arte Concreto Invención, at the home of Dr. Enrique Pichon-Rivière,
Buenos Aires
Segunda Exposición Arte Concreto Invención, at the studio of Grete Stern, Buenos Aires
1944 Group show with works by Arden Quin, Tomas Maldonado, Lidy Prati, and Oscar
Nuñez, Galería Conte, Buenos Aires
1936 Exposición a favor de los republicanos españoles, Ateneo of Montevideo

Selected Collections
Blanton Museum of Art, University of Texas, Austin
Centre National des Arts Plastiques, Puteaux, France
Daros Latin America Collection, Zurich
Harvard Art Museums, Cambridge, MA
Los Angeles County Museum of Art
Museum of Fine Arts, Houston
Museum of Modern Art, New York
Patricia Phelps de Cisneros Collection, Caracas
Tate Americas Foundation

Source:
https://www.leontovargallery.com/carmelo-arden-quin
https://durbansegnini.com/artists/carmelo-arden-quin/

Perez Art Museum PAMM

Concretism Art: the Beauty of Pure Form, Line and Color

Por

AMM

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Carlos Evangelista, master of abstraction

Concretism Art: the Beauty of Pure Forms, Lines and Colors

Concretism, an influential art movement that emerged in the 20th century, celebrates the purity of form and color in its most elemental state. As a response to the chaos and uncertainties of the post-war world, Concretism sought to create artworks that were free from representational or narrative content, focusing solely on the essential elements of visual art.

Inspired by geometric abstraction and the principles of constructivism, Concretism artists embraced a rigorous approach to composition, utilizing geometric shapes, lines, and colors with precision and clarity. Their creations were characterized by strict adherence to mathematical principles, often resulting in artworks that appeared harmonious and balanced to the eye.

One of the key tenets of Concretism was the rejection of illusionism and the desire to present the viewer with a pure visual experience. By eliminating any references to the external world, Concretism aimed to evoke a sense of universality and timelessness, inviting the viewer to engage with the artwork on a purely visual and emotional level.

Artists within the Concretism movement sought to explore the interplay of colors, shapes, and forms, using them as the primary means of expression. Through precise arrangement and juxtaposition, they created vibrant and dynamic compositions that conveyed a sense of rhythm and movement.

One of the pioneers of Concretism was Theo van Doesburg, who co-founded the influential De Stijl movement. Van Doesburg’s work exemplified the movement’s principles of geometric abstraction and pure color. Other notable artists associated with Concretism include Max Bill, Josef Albers, and Camille Graeser, among others.

Concretism’s impact extended beyond traditional painting to encompass other forms of artistic expression, such as sculpture, architecture, and graphic design. Its influence can still be seen in contemporary art and design, where the celebration of pure form and color continues to resonate with artists and viewers alike.

Concretism art remains a fascinating exploration of the inherent beauty found in pure form and color. By stripping away representational content, Concretism artists invited viewers to embark on a journey of visual discovery and emotional resonance. The movement’s commitment to precision and universal expression continues to inspire artists to this day, celebrating the enduring power of geometric abstraction and the allure of pure visual harmony.

Concretism art is characterized by several distinct features that set it apart as a significant movement in the realm of abstract art. These characteristics include:

Geometric Abstraction: Concretism art is grounded in geometric abstraction, where artists employ simple and precise geometric shapes such as squares, circles, triangles, and rectangles as the fundamental building blocks of their compositions. These shapes are often used in a precise and systematic manner, adhering to mathematical principles.

Non-Representational: Concretism artworks are non-representational, meaning they do not seek to depict recognizable objects or subjects from the external world. Instead, they focus on pure form, color, and the relationships between geometric elements to create a visual experience divorced from figurative references.

Rational and Logical: Concretism artists approach their work with a sense of rationality and logic. The compositions are meticulously planned and executed, adhering to mathematical precision and orderly arrangements. The art is often the result of a rigorous and intellectual process.

Flat and Clean Surfaces: Concretism art typically features flat and clean surfaces, devoid of texture or visible brushstrokes. This emphasis on smooth and non-textured surfaces contributes to the purity and objectivity of the artwork.

Primary Colors: Concretism artists often employ a restricted palette of primary colors (red, blue, and yellow) along with black and white. These colors are used in their pure form, without mixing or shading, to create bold and visually striking compositions.
Emphasis on Objectivity: Concretism seeks to present the viewer with an objective visual experience, devoid of emotional or narrative content. The artworks aim to engage the viewer’s intellect and perception, encouraging them to contemplate the pure elements of form and color.
Universality and Timelessness: By eliminating representational elements and focusing on geometric abstraction, Concretism art aspires to achieve universality and timelessness. The artworks are intended to transcend specific cultural or historical contexts, resonating with viewers across different times and places.

Relationship with Constructivism: Concretism art shares connections with the Constructivist movement, which also emphasized geometric abstraction and objectivity. However, Concretism developed as a response to the strict formalism of Constructivism, seeking to introduce a more intuitive and expressive approach to abstraction.

Concretism art is defined by its commitment to geometric abstraction, non-representational forms, rationality, and objectivity. Through the precision and harmony of its compositions, Concretism invites viewers to explore the intrinsic beauty of form and color, celebrating the essence of visual art.

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