radical geometry_ south america's surprising art _ art and design _ the guardian

8/12/2019 Radical Geometry_ South America's Surprising Art _ Art and Design _ the Guardian

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6/29/2014 Radical geometry: South America's surprising art | Art and design | The Guardian

http://www.the gua rdia n.c om/a rta ndde sign/2014/jun/27/south- ame ric an- pa inting-r adic al- ge ome tr y-r oya l- ac ade my- exhibition 1/11

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Helio Oiticica'sMetascheme, 1958. Courtesy of Projeto Helio Oiticica

In 1943, the Uruguayan artist Joaqun Torres Garca turned the world

upside down. HisAmrica Invertida,orInverted Map of South

America, is a simple ink-on-paper drawing that puts Caracas at the

bottom and the south pole at the top. The south becomes the north.After centuries of condescension (the north Europe, the US

assumed to be more important than the south), Latin America's

Radical geometry: South

America's surprising artAll eyes are on Brazil's World Cup but a new Royal

Academy exhibition showcases a different kind of

South American artistry, and makes a stunning

case for the continent's geometric art

Paul Laity

The Guardian, Friday 27 June 2014 09.30 BST
http://www.wordsinspace.net/urban-media-archaeology/2011-fall/2011/11/30/inverted-map-of-south-america/http://www.guardian.co.uk/theguardianhttp://www.theguardian.com/profile/paul-laityhttp://www.wordsinspace.net/urban-media-archaeology/2011-fall/2011/11/30/inverted-map-of-south-america/http://www.theguardian.com/uk


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importance was deftly reclaimed. Thanks to the map, the artist wrote,

"we have a true idea of our position, and not as the rest of the world

wishes".

Torres Garca was determined to establish a

distinctive and confident art movement in SouthAmerica. In many ways, the excellent, eye-opening

Radical Geometryat the Royal Academy sets out to

do the same. It makes the case that the different

kinds of abstract paintings and sculpture produced

in Uruguay, Argentina, Brazil and Venezuela from

the 1930s to the 1970s were as innovative as anything beingattempted in the "north". Most people, if asked about Latin American

art, think of the Mexican muralists and Frida Kahlo's self-portraits;

this show offers a rich alternative.

The exhibition arrives at a good time not only as the World Cup

fixes attention on a different kind of Latin American artistry, but in

that several of the show's standout practitioners are being talkedabout as never before. The Venezuelan Gego, best known for her

delicate, three-dimensional wire works, is increasingly feted, as is the

Brazilian Lygia Clark, whose 1960s sculptures, Creatures, designed to

be picked up and folded into different shapes, have been an attraction

in a recent, warmly welcomed MoMA retrospective. Along with the

intriguing Inca-inspired pictographs ofTorres Garca and theapproachable, agitated grids of Hlio Oiticica (who also designed

geometrically patterned capes "habitable paintings" for samba

dancers), the work of these artists will surprise sceptics expecting

stale variations of European modernism, or non-aficionados

understandably wary of such labels as concretism and neoconcretism.

Radical Geometry:

Modern Art of South

America from the

Patricia Phelps de

Cisneros Collection

Royal Academy of Arts,

London W1

Starts 5 July

Until 28 September

More details
https://www.royalacademy.org.uk/exhibition/23http://www.theguardian.com/artanddesign/2007/jun/07/arthttp://www.moma.org/collection/artist.php?artist_id=5907http://www.theguardian.com/artanddesign/2014/may/29/lygia-clark-review-art-moma-new-yorkhttp://www.theguardian.com/artanddesign/gallery/2011/jun/29/frida-kahlo-diego-rivera-in-pictures#/?picture=376225971&index=6http://www.theguardian.com/world/brazil


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Alfredo Hlitos

Chromatic Rhythms II, 1947. Courtesy of Sonia Henrquez Urea de

Hlito

Thanks to the recognition now given to Clark, Gego and others, if the

world hasn't been turned upside down, it has at least been tilted. It

was a very different situation the first time many of theRadical

Geometryartists were shown in Britain at the landmark Latin

American show put on by the Hayward in 1989. The critic Tim Hilton

reviewing the exhibition in the Guardian remarked sniffily that "no

group and scarcely one individual artist attains the high and

continuous creativity we expect from admirable art", while Brian

Sewell commented that the continent's art was no more distinguished

than the painting on Turkish donkey carts. Such views seem

embarrassing now.

So the Royal Academy show, curated by Adrian Locke and Gabriel

Prez-Barreiro, has no need to be defensive. It tells four main stories,
http://www.theguardian.com/artanddesign/paintinghttp://www.theguardian.com/media/brian-sewell


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each involving a different country in a particular era. All the art

displayed was propelled by radicalism of differing kinds, all more or

less political as abstraction swept through South America. In the

catalogue, Locke elegantly introduces the economic and political

contexts of the four radical moments. Montevideo was a modern

capital with wide boulevards, parks and intellectuals gathering in

coffee houses; Buenos Aires was "a cosmopolitan city of grandeur and

sophistication". Brazil made itself a global art-world capital in the late

40s and 50s with new galleries and the So Paulo biennale the big

Brazilian cities were hot centres for abstract painters, not in

a provincial sense, but internationally. In prosperous Venezuela, the

modern art movement, influencing industry, science and

architecture, also made political sense: it helped the country appear

vibrant and in vogue. The continent was a destination shining with

promise, chosen by many European immigrants over the US. An

interchange of ideas across the Atlantic between Europe and South

America one that has so often been written out of art history was

inevitable.

The first of the four stories concerns Torres Garca, who spent

decades in Europe before returning to Montevideo in 1934. In

Barcelona, he painted murals for Antoni Gaud; in Paris, he mixed

with Joseph Stella, Marcel Duchamp and Joan Mir, and produced

winning cityscapes. But his most recognisable work seems to have

arisen from two particular influences an intense interest in Latin

American culture preColumbus, and the compositions of Piet

Mondrian.

The results were his 1930s grid paintings in earthy colours of box-like

compartments, variously sized, almost like a chic wall-storage

system: an example in the show is Construction in White and Black.

The pattern suggests Inca stone work, with regular-shaped blocks

cleverly fitted together. In other works the boxes contain child-like
http://www.theguardian.com/artanddesign/piet-mondrianhttp://www.theguardian.com/artanddesign/joan-mirohttp://www.theguardian.com/artanddesign/duchamphttp://www.theguardian.com/artanddesign/antoni-gaudi


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"signs" a fish, a clock, a face, a wheel, a boat, the sun. Torres Garca

began a movement, utopian and democratic in spirit, that argued for

geometry as the key to all art, and sought to incorporate pre-Hispanic

ideas, in the belief that simple symbols could be understood

regardless of the viewer's background. The divide between "high" and

"low" art forms would disappear art would be accessible to the

masses.

Joaqun Torres-

Garcas Construction in White and Black, 1938. Courtesy of the

Museum of Modern Art, New York

To spread his ideas, he had a radio show, delivered lectures and

founded a school, rather like the Bauhaus. As Prez-Barreiro explains

in theRadical Geometrycatalogue, Torres Garca believed that "an

artist should craft a coherent lifestyle and environment as a prototype

of a new social model". Such a cause needed disciples, and his "Studio

of the South" flourished, at least for a while.

Definitely not among his faithful followers was a group of young

revolutionary artists from across the Ro de la Plata, in Buenos Aires,

who populate the second story of the exhibition. For Gyula Kosice,


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Ral Lozza and Toms Maldonado, in the mid-40s, Torres Garca's art

was not universal and spiritual but dusty and rather fey. They

regarded abstract art as, according to Prez Barreiro, "an urgent

response to a primarily political problem: the construction of a new

society along collective, communist principles". Figurative art was the

art of the bourgeoisie; abstraction was the art of the people, and art

could be dissolved into propaganda (manifestos, leaflets distributed

on the subway system). They condemned the populist president,

Pern, as "fascist", and looked to destabilise art conventions, often

with humour and irreverence. Unfortunately for them, their artistic

heroes were Malevich and Rodchenko, who represented an aesthetic

long proscribed in a Soviet Union, which now approved only social

realism. In consequence, those among the Argentinian tyros who

were members of the Communist party were soon expelled, after

which their compositions of geometric shapes, diagonal lines and

colour planes became, in many ways, more beguiling, and they joined

a more general and international postwar abstraction movement.

A new development in Buenos Aires was the rejection by Rhod

Rothfuss and others of the conventional picture frame, and an

adoption of asymmetrical-shaped canvases. In Carmelo Arden Quin's

Trio No 2and Juan Mel'sIrregular Frame No 2, for instance, the

idea is to allow the edge of the painting to play a more active role an

attempt to subvert even more thoroughly than other concrete art the

illusion of providing a representational "window on the world", an

illusion in which the rectangular frame plays a vital part.
https://www.google.co.uk/search?q=royal+academy+Trio+No+2+carmelo+arden+quin&source=lnms&tbm=isch&sa=X&ei=Ux-sU_ziIuKN7Qahg4CoCg&ved=0CAYQ_AUoAQ&biw=1803&bih=1097#facrc=_&imgdii=_&imgrc=w3OJzkGtFb4frM%253A%3BuXkdIiHZFyiTqM%3Bhttps%253A%252F%252Fres.cloudinary.com%252Froyal-academy%252Fimage%252Fupload%252Fc_fill%252Cw_650%252Fndcpzbbln8ggjqr1t4i3.jpg%3Bhttps%253A%252F%252Fwww.royalacademy.org.uk%252Farticle%252F173%3B650%3B867http://www.appraise-art.com/blog/carmelo-arden-quin-a-shaped-and-colorful-worldhttp://www.theguardian.com/artanddesign/2008/feb/10/photography.arthttp://www.theguardian.com/culture/2000/may/11/artsfeatures2


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Juan Mels

Irregular Frame No 2, 1946. Courtesy of the estate of Juan Mel

In the third story, the scene shifts to 1950s Brazil, a far morenourishing environment than Argentina for geometric painters. In

the way that abstract expression summed up an American idea of

"freedom", the natural language of Brazilian art at this time was

concretism, carrying with it a sense of planning and modernity. Oscar

Niemeyer's brutalist capital Brasilia was in development and, unlike

in Argentina where Peronist politics had hollowed out the middle

classes, in Brazil the bourgeoisie was thriving. The new galleries in

Rio and So Paulo established a proper art ecosystem.
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As with all the artists in theRadical Geometryshow, Waldemar

Cordeiro felt that painting should be entirely free of any basis in

observed reality and have no symbolic implications. "We defend

the real language of painting that is expressed with lines and colours

that are lines and colours and do not want to be pears nor men," he

wrote. The Brazilian concretists went in for rigorous geometry and

bold pigments in the pursuit of pure, two-dimensional visuality.

Cordeiro is represented in the show by the striking Visible Idea, a pair

of interlocking shell-shapes on a crimson canvas.

Then, in 1959, things changed again in Brazil with the arrival of the

neo-concretists. The centre of gravity was now warm Rio rather thancooler So Paulo, and the abstract art became less austerely rational

and more organic, more playful more comfortable with ideas of

subjectivity and nature. Oiticica's grids from the late 1950s have a bit

of give: the squares seem to jostle, wanting to be free.

Lygia Clark's Compositionfrom 1953, with its egg-yolk yellow, navy

and emerald rectangles, while gorgeously rendered, is a grid of planesfrom the same phase as her small, monochromatic paintings in grey,

black and white. In her new mode, her structures drifted apart. Like

Oiticica, she decided that ultra-rational abstraction was art for

bourgeois insiders rather than the people, and it wasn't particpatory

enough. (Both artists were inspired by the use of art therapy in a local

psychiatric hospital.) Clark's movable, aluminium origami-esqueBichosor Creaturesare designed to make the spectator an active part

of the artwork. As the Guardian's Adrian Searle put it last month

when reviewing her retrospective, "as you play with them these small

hinged forms flip-flop and fold this way and that. They have a nice

weight, and handling them feels a bit like doing card tricks." Oiticica's

capes for use in samba performances were another expression of

participatory art. Similarly, Lygia Pape produced books with semi-

abstract sculptural elements that viewers were encouraged to pick up
http://www.theguardian.com/artanddesign/2014/may/29/lygia-clark-review-art-moma-new-yorkhttps://www.google.co.uk/search?q=lygia+clark&source=lnms&tbm=isch&sa=X&ei=MSCsU_mhAfLY7Abt_IGwDA&ved=0CAYQ_AUoAQ&biw=1803&bih=1097#q=lygia+clark+bichos&tbm=ischhttps://www.google.co.uk/search?q=helio+oiticica+grid&client=firefox-a&hs=jKV&rls=org.mozilla:en-US:official&tbm=isch&imgil=w0Zp6KioQbBCtM%253A%253Bhttps%253A%252F%252Fencrypted-tbn1.gstatic.com%252Fimages%253Fq%253Dtbn%253AANd9GcR4zDDaqziNSiXyo45Me17KKD6efdJjYvGqIBj58BELkB9mgBg76g%253B340%253B284%253Blp8xyi_vnlIX6M%253Bhttp%25253A%25252F%25252Fwww.christies.com%25252Flotfinder%25252Fdrawings-watercolors%25252Fhelio-oiticica-metaesquema-5370348-details.aspx&source=iu&usg=__9Qa8aSkP1BaGyDFZymNvq15Z3lY%3D&sa=X&ei=IaepU63LFtPA7AaD74CgDw&ved=0CCYQ9QEwAg&biw=1461&bih=737#facrc=_&imgdii=_&imgrc=w0Zp6KioQbBCtM%253A%3Blp8xyi_vnlIX6M%3Bhttp%253A%252F%252Fwww.christies.com%252Flotfinderimages%252FD53703%252Fhelio_oiticica_metaesquema_d5370348h.jpg%3Bhttp%253A%252F%252Fwww.christies.com%252Flotfinder%252Fdrawings-watercolors%252Fhelio-oiticica-metaesquema-5370348-details.aspx%3B340%3B284https://www.google.co.uk/search?q=royal+academy+Lygia+Clark%E2%80%99s+Composition+1953&source=lnms&tbm=isch&sa=X&ei=rx-sU4btIfGv7Ab-2ICADg&ved=0CAYQ_AUoAQ&biw=1803&bih=1097#q=Lygia+Clark%E2%80%99s+Composition+1953&tbm=isch&facrc=_&imgdii=_&imgrc=gaW_G_Dsqm9lPM%253A%3BYub-R-fNSeAzjM%3Bhttp%253A%252F%252F37.media.tumblr.com%252F586a8d7c11b112572fa4227b55ac2ad0%252Ftumblr_mzrzpgZ7E91qb0z6go1_1280.jpg%3Bhttp%253A%252F%252Ftibaert.tumblr.com%252Fpost%252F74220211173%252Fquincampoix-lygia-clark-composicao%3B736%3B1059


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and investigate.

Radical Geometry's fourth Venezuelan story is characterised, like

the first, by strong connections between Latin America and Europe.

The op and kinetic artists Jess Rafael Soto and Carlos Cruz-Diez

crossed the Atlantic and settled in Paris. In the other direction, Gego,who was born Gertrud Goldschmidt, the daughter of a Jewish banker,

left Germany in 1939 as political tension mounted, bound for

Caracas. She arrived during an economic boom, and was surrounded

by artists consumed by a sense of new possibility.

GegosSphere,1976. Courtesy of Fundacin Gego

Encouraged by Alejandro Otero and Soto, who were experimenting
http://www.nytimes.com/2007/04/27/arts/design/27gego.html?pagewanted=all&_r=0


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with light and perception, Gego created three-dimensional works,

first with paper and then with iron and steel. She titled her beautiful,

fragile, hanging wire structures a new form of abstract, line-based

art Drawings Without Paper, refusing to call them sculptures.

Radical Geometryhas half a dozen of her works includingSquare

Reticularea 71/6, which takes the idea of the geometric grid so

prevalent throughout the exhibition and makes it floating, weightless,

almost invisible;Decagonal Trunk No 4, which stretches the grid

down into a long Chinese lantern-shape;Sphere, an intricate round

steel net; andFlow No 7, which is all draped lines, like a crestfallen

chandelier. They mark a long distance travelled from the original

concrete art that influenced Torres Garca, and are among the visual

revelations that pack this fascinating show.

Radical Geometry: Modern Art of South America from the Patricia

Phelps de Cisneros Collectionis at the Royal Academy, London W1,

from 5 July to 28 September.

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radical geometry_ south america's surprising art _ art and design _ the guardian

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