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ABSTRACTION and Constructivism Continuity and Breakdown of XXIII Latin-American Modernity ANNIVERSARY

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ABSTRACTION and Constructivism Continuity and Breakdown of XXIII Latin-American Modernity ANNIVERSARY Carmelo Arden Quin Omar Carreño Carlos Cruz-Diez Fernando De Szyszlo Gyula Kosice Julio Le Parc Raúl Lozza Mateo Manaure César Paternosto Eduardo Ramírez Villamizar Omar Rayo Carlos Rojas Fanny Sanín Jesús Soto Manolo Vellojín ABSTRACTION AND CONSTRUCTIVISM Continuity and Breakdown of XXIII Latin-American Modernity ANNIVERSARY Dennys Matos Concept Developer and Curator Carmelo Arden Quin Omar Carreño Carlos Cruz-Diez DIRECTORS ABSTRACTION AND CONSTRUCTIVISM EDITORIAL COORDINATION AND CONCEPT DIRECTORES Continuity and Breakdown of COORDINACIÓN EDITORIAL Y CONCEPTO Fernando De Szyszlo César Segnini Latin-American Modernity Dennys Matos Sulay Segnini July 2015 TEXT Gyula Kosice ASSISTANT MANAGERS CONCEPT DEVELOPER AND CURATOR TEXTO ASISTENTES CONCEPTO Y CURADURÍA Dennys Matos Julio Le Parc Jacqueline Cardentey Dennys Matos TRANSLATION Elsa Quintana Raúl Lozza ORGANIZER AND COORDINATION TRADUCCIÓN ORGANIZACIÓN Y COORDINACIÓN Laura Romeu Ondarza Mateo Manaure Durban Segnini Gallery, Miami DM ArtPro DM ArtPro PHOTOGRAPHS César Paternosto ART INSTALLATION DESIGN FOTÓGRAFOS DISEÑO ARTÍSTICO DE MONTAJE Néstor Arenas Eduardo Ramírez Villamizar DM ArtPro Mariano Costa Peuser Durban Segnini Gallery, Miami Jacques Faujour Daniel Giannoni Omar Rayo SET UP Gyula Kosice MONTAJE Lorena Pérez-Rumpler Carlos Rojas Adalberto Grisanti Mayer Sasson Luis La Rosa Jim Strong Fanny Sanín Nina Subin William H. Titus Jesús Soto GRAPHIC DESIGN DISEÑO GRÁFICO Manolo Vellojín Zilah Rojas PRINTING IMPRESIÓN Editorial Arte NUMBER OF COPIES EJEMPLARES 1.000 DEPÓSITO LEGAL lf22920157001320 ISBN 978-980-7582-07-0 ABSTRACTION AND The curator would like to give special thanks CONSTRUCTIVISM to César Segnini and his team for their bold 3072 SW 38th Avenue and generous intellectual support. Similarly, Continuity and Breakdown of Miami, FL 33146. USA Mr. Matos extends his gratitude to Jesús Soto XXIII Ph (305) 774 7740 Foundation, Kosice Museum, Carlos Cruz-Diez Fax (305) 774 7741 Foundation, The Museum of Geometric and Latin-American Modernity ANNIVERSARY [email protected] MADI Art, Aldo Facchi and his wife, and Tanya durbansegnini.com Capriles de Brillembourg. Dennys Matos Concept and exhibition curator Dennys Matos 6 -16 Carmelo Arden Quin Omar Carreño Carlos Cruz-Diez 26 34 40 Fernando De Szyszlo Gyula Kosice Julio Le Parc 46 52 58 Raúl Lozza Mateo Manaure César Paternosto Index | Índice 64 70 76 Eduardo Ramírez Villamizar Omar Rayo Carlos Rojas 84 92 98 Fanny Sanín Jesús Soto Manolo Vellojín 104 114 122 List of work | Lista de obras 127 I- “Abstracción y Constructivismo. Continuidad y rup- tura de la modernidad latinoamericana” [“Abstraction and Constructivism. Continuity and Breakdown of Latin Ameri- can Modernity”] outlines how the poetics of abstraction ONSTRUCTIVISM C in its most diverse Latin American versions, its obsession D N for organizing and constructing spaces, for creating new volumes, for reconciling planes and impossible points of concordance, for shaping material and spiritual worlds, CTION A BY DENNYS MATOS A character and even moods through an enigmatic and re- petitive pictorial calligraphy, responds to a perception of ABSTR Latin America’s modernity project as an essentially badly structured model. A model where public and private, po- litico-economic and sociocultural spaces are perceived as unstable and tumultuous. A model whose nation-states and the creation of democratic entities fail as a result of the contradictions of its postcolonial history and the ensuing unresolved difficulties, on the one hand, and on the other the vertiginous advance of capitalism as a sort of never- ending present where the future has been envisioned be- tween lightning bolts of democracy and blackouts from failed totalitarian utopias. The exhibition “Abstraction and Constructivism. Continu- ity and Breakdown of Latin American Modernity” encom- passes a rich and contradictory setting focused on the Latin American artistic production of the 20th century during the period of late modernity. That is, the production that emerged largely after World War II, and which, according to various historiographic points of view (Fredric Jameson or Perry Anderson, for example) lasts approximately until the end of the 1970s, to give way to what is known to- day as postmodernity. In terms of contemporary artistic critique, this period is somewhat related to what is indis- criminately called post avant-garde (Peter Bürger) or neo avant-garde (Hal Foster), as a way to differentiate this pro- duction from historic avant-garde. In this historiographic framework, abstraction is, generically, a trend within the broad and varied movement known as European Informal- ism, which emerged towards the end of World War II. This reductive outline is useful in establishing the frame of his- toriographic and artistic references around which “Abstrac- tion and Constructivism (…)” revolves and the 15 artists it includes: Carmelo Arden Quin, Carlos Cruz-Diez, Jesús Soto, Mateo Manaure, Manolo Vellojín, Eduardo Ramírez Villamizar, César Paternosto, Carlos Rojas, Omar Rayo, Fer- nando De Szyszlo, Fanny Sanín, Julio Le Parc, Omar Carreño, 6 | 7 Raúl Lozza and Gyula Kosice. A line-up of artists that were achieve, for example, the stunning colors of his last works, born, with some exceptions, during the 1920s and 1930s, in addition to impacting the expressive dynamics of his con- becoming well-known primarily towards the mid and late structivist poetics. This fact of incorporating the material 1940s. and spiritual imaginary of pre-Colombian cultures into Latin ONSTRUCTIVISM C American artistic modernity is part of the ideological action D N seen in the philosophical project of modernity as a whole. II- Julio Ramos, in “Desencuentro de la modernidad en In this regard, Habermas states as a comment on Koselleck América Latina. Literatura y política en el siglo XIX” [“The that “it manifests itself as historic conscience expressed in CTION A A Failure of Modernity in Latin America. Literature and Politics the concept of the nova aetas, or Modern Era, a conscious During the 19th Century”] outlines a broad and contra- look racked with philosophy of the history: understanding ABSTR dictory picture in the relationship between modernity and reflectively one’s own position from the horizon of history Latin Americanness as seen through the works of 19th cen- as a whole” (2). And it has a profound consequence in the tury key Latin American writers and intellectuals. A rich and artist’s outlook, for his conscience will no longer be able contradictory relationship between modernity and Latin to refrain from being self-reflective in style, and self-reflec- Americanness that Ramos recreates in terms of the poetics tive also in expression. His conscience, his sensibility begin and the discursive, aesthetic and political trajectory of its a process of self-examination in order to enter, to dwell, successes and failures. For Nelly Richard, Ramos’s reflection in a different present moment. “A present moment that explains “how literary authority and cultural power delin- perceives itself from the perspective of the Modern Age eate their arbitrariness, their censorship and exclusions in as the most-recent present moment, has no other alterna- a continent shaken since forever by the heterological vio- tive but to live and reproduce as a continued renewal the lence of the clash between registries of expression (oral, rupture that the Modern Age represented with the past.” (3) written), historic narrations (colonized, western), the strata This event, although already formulated by Latin American of identity creation (popular, cultured), positions of author- avant-garde movements, is not embodied in the poetics or ity (subordinate, hegemonic), the location of power (pe- style of Latin American art in a more organized manner ripheral, metropolitan) and subjective territoriality (captive, until the advent of the post avant-garde movement, that escapee)” (1). is, the post-World War II artistic production exemplified by Madi art and Perceptism manifestos, among others. Never This reflective transversality of 19th century Latin American forgetting, of course, the person who was the maximum intellectuality regarding the continent’s sociocultural out- inspiration for all of them: Torres García and his universal look, portrayed in Ramos’s supreme work, reaches a point Constructivism. of self-reflective intensity in the area of artistic production with the emergence of Joaquín Torres García in the 20th century. Torres García’s universal constructivism, reprising III- Torres García, who was captivated by the pre-Colombi- the poetics and discursive perspectives of Russian construc- an world’s material and spiritual culture, was only the first tivism, begins to reinterpret the history and the ensemble of a long list of artists who followed along this path. In of pre-Colombian sociocultural traditions. A critical view of that sense, Szyszlo’s paintings and sculptures, inhabited by avant-garde art and the complex historic and social real- totemic beings and mysteriously dream-like landscapes that ity that serves as inspiration, after World War II, for Latin refer to the culture of the Nazca high-plateau, are a clear American post avant-garde from which stemmed a for- example. We may regard the works of Paternosto and Villa- midable movement that has come to be known as Latin mizar in that same vein, especially their sculptures fueled by American Geometric Abstraction. the geometric logic of the impressive Machu-Pichu and the
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