PINA BAUSCH BOTERO c u l t u r a l c o n t e n t

plastic arts

photography

architecture

design

movie theater

music 15th, 2021 / for free content / No. 3 February 3913 / Magazine of cultural

dance

literature

theater OBJET TROUVÉ In this third installment 3913 continues immersed in the world of dance. This time it’s Pina Bausch with one of her best choreographies, Café Müller, forty-five minutes of pure melancholy.

And still with architecture, it’s the turn of one of the greatest of the twentieth century, the great polyphonic, overflowing, plural, Le Corbusier.

We end with the colossal Colombian painter/sculptor Fernando Botero and his close connection with the Italian Quattrocento through Piero della Francesca.

Idea, concept and production Rosingui Perez and CayDesign. Translation: Helen McNally (Eng). Tipography: Flama Basic, PMN Caecilla. Contact: [email protected] / +34 625 056 562 / +34 644 811 429 / @treintaynuevetrece

Every show of hers is a shudder, a shock, a feast for the intelligence and the senses, from which she rarely leaves unscathed. From overflowing joy to the most unfathomable sadness, the territories of the brilliant creator are the uneasy and rugged zones of the human soul, a continuous bustle of splintered feelings, which at the end of each trip When Pina Bausch enters your life, she stays forever.

transforms us into images of such pure beauty that it moves and comforts us. Desire and joy, hope and melancholy, aggression and seduction, hysteria and tenderness, euphoria and distrust, nostalgia, anguish and pain for unsatisfied love, loneliness, the isolation between men and women.

“Pina Bausch a German dancer and choreographer was born on July 27, 1940, during World War II. She began her dance studies at the late age of 15, at the Folkwangschule in Essen, where she was a student of Kurt Joos and Sigurd Leeder.”

he expanded her studies with a scholarship to the prestigious Juilliard School of Music in New York. She danced at the Metropolitan and the New York City Opera where she was influenced by the work of Martha SGraham. Pina Bausch returned to Germany in 1972, where she was appointed director of the Wuppertal Opera House and created the dance company of the same name. She would keep the post to the day she died at 68 years of age June 30th, 2009.

Following the doctrines of her teacher, Kurt Joos, Bausch started from the idea that movement is also thought, emotion, action and expression so that every act is dance.

Her choreography portrays the human being with all its defects and virtues, taking as a starting point what moves people rather than the movement itself. Her creations do not follow a linear progression rather they are built from a series of multiple episodes or simultaneous stage actions, using striking images, everyday activities, texts directed at the public and a great variety of music ranging from popular hits to classical music.

The dancers in Pina Bausch’s works are not related to the ideal of beauty in terms of the body they are very heterogeneous. Pina uses the dancers’ own fears, desires, complexes and their own vulnerability. This leads to the use of many physical and emotional gestures that she integrates in her creations, resulting in tenderness, ironic cruelty and, above all, a lively and raw humanity, forcing the public to confront problems common to all such as death, love, violence against women, relationships between individuals and groups...

“We can see how movement and dance steps are not the most important thing but the concept of movement, emotion, impulses and opposition.”

“Café Müller” is undoubtedly the most emblematic piece by Pina Bausch. It premiered at the Wuppertal Opera on May 20th, 1978. The extraordinary simplicity and theatricality of “Café Müller”, where a series of chairs act as obstacles for dancers who interpret human sensibilities make this piece a moving work with music by Henry Purcell. The choreographer herself headed the cast of this piece, which was performed for the last time at the Liceu opera house in Barcelona on September 10th, 2008.

In this piece we observe two women dressed in white, with their eyes closed, wandering like sleepwalkers through a room. One of them stumbles over everything around her while a man, dressed in black and with a sad expression tries to stop her by moving possible obstacles, such as chairs or tables out of the way.

We can see how movement and dance steps are not the most important thing but the concept of movement, emotion, impulses and opposition.

In a second scene the figure of the other woman is moved through the air through the manipulation of her by various dancers. When she is close to falling, another dancer places a microphone on her, the woman breathes a long sigh, and then gets back up again, repeatedly.

These two women inhabit an area of loneliness and isolation, their movements are always forceful gestures that alternate with dramatic attitudes, with falls, blows, jumps and collapses, where the expression of these heart- breaking gestures is the consequence of the externalization of the internal.

The props used are small brown tables and chairs distributed throughout the stage space simulating a cafeteria. The tables are circular, placed at approximately the same distance, producing a feeling of monotony.

“The chairs cast their shadow on the wall, like the movement of the dancer’s arms, as if it were an echo, allowing a way of creating movable spaces.”

These curved lines express femininity, lightness and movement. The chairs, with a predominance of vertical and horizontal lines, express strength, vigour, weight, solidity and masculinity. There are many more of these demonstrating a greater masculine character than feminine, corroborated by the colour brown.

The clothing of one of the women is a long, flowing shiny white satin nightgown with straps that reveal the arms and part of the torso, her hair is tied back, giving the impression of a sane person. The other woman wears a long, off-white nightgown, but with half sleeves and a covered torso, her hair is loose, evoking madness.

They dance with their eyes closed as if contemplating their inner world, of loneliness and melancholy. The white of their tunics can have several readings: the luminous white can represent the purity of the soul as if it were a spirit, or the world of dreams; off-white could signify this woman’s suffering and unshed tears.

The figure of the man dressed in black, representing seriousness and sadness, does not detract from the dancers.

The set is divided into two parts: the right is bounded by two dark walls, forming a heavy and gloomy place, with no lights except the spotlight, which illuminates the dancer when she covers that space. The left side is much brighter due to the light grey colour of the walls and the large white frame doors and glass that reflect the light. The lighting playing with lights and shades helps the play along.

The chairs cast their shadow on the wall, like the movement of the dancer’s arms, as if it were an echo, allowing a way of creating movable spaces.

The decoration has many vertical, horizontal and oblique lines created by the doors and walls making an angular space. On the left there is a white door with a mirror which one of the dancers runs towards. “This mirror can represent the imagination or consciousness, some philosophers relate the mirror to thought, as it is the mental vehicle where self-contemplation occurs.”

This mirror can represent the imagination or consciousness, some philosophers relate the mirror to thought, as it is the mental vehicle where self-contemplation occurs.

In the background to the left there is a large glass door, like a mirror, which reflects what is happening on stage. A duality is presented, it is as if this part of the stage space were the side of consciousness and freedom, towards which the dancers run, while the dark area was that of unconsciousness or repression from which they flee. This large door is like a window allowing you to see what is behind it, projecting new rooms or doors, symbolizing the exit to the outside world for which they feel melancholy and longing.

As for the music, the noises produced by the movement of the chairs when being pushed aside, the silences and the melodies of Purcell, contribute to creating the magic of this unforgettable show. Have a look at “Café Müller” !

“Le Corbusier, a polyphonic, large, overflowing, plural artist...”

arles Édouard Jeanneret-Gris was born on October 6, 1887 in La Chaux-de-Fons, Switzerland. He was the son of a watch engraver and a music teacher. At the age of 14 he began to work with his father as an engraver while he began his studies of Decorative Arts at the CArt school of La Chaux-de-Fons, where his tutor and later mentor, Charles L’Eplattenier guided him towards painting and later towards architecture.

A few years later L’Eplattenier got him his first commission as an architect, the “”. He would use the money from this to see the world. He spent two months in Italy drawing everything he saw, four months in Vienna where he designed two houses, these were commissions that his mentor got for him. He left Vienna to go to Paris and on the recommendation of L’Eplattenier, he went to the studio of Auguste Perret, a pioneer architect in the technique of reinforced concrete construction. He worked for him for a year and a half learning these new concrete construction techniques and the importance of architecture as social change. He continued his pilgrimage by going to Berlin, where he worked for Behrens, the artistic director of AEG (as Mies did). Jeanneret didn’t like working for Behrens so in 1911 he set out on a journey to Budapest with his friend Klipstein, from there he went to Istanbul where he discovered the Orient, then to Greece to visit the Acropolis and the Parthenon. He returned to Switzerland through Italy via Pisa...

Villa Fallet The sun, space and green are key determinants of nature that must be placed at the service of the human being, under living, working, cultivating the body and spirit, and circulating. With this order and in this hierarchy. “Le Corbusier developed the 5 points of modern architecture, where the most important things are the replacement of walls by pillars”

Back in La Chaux-de-Fons, he opened his first office with great proclamations and few clients, but already applying classicism by modern means in his projects.

In 1917 he left La Chaux-de-Fons to go to Paris, where he settled permanently, starting a new life. He met the painter Amédée Ozenfant, who was a very important character for Jeanneret. He supported him and revived in him the desire to paint. He began painting with the desire to pursue an artistic career. They painted together, learning from each other. His first exhibition was called “Après le Cubisme”, “”. They wrote and published together the Purist manifesto and the magazine “L’Esprit Nouveau.” He signed his paintings with his name Jeanneret and invented the pseudonym Le Corbusier to sign his articles, in which he theorizes about the machine and classical architecture as the basis for modern architecture.

In 1922 he became associated with his cousin Pierre Jeanneret, and together they opened a studio. He designed the “Maison Citröhan” in direct allusion to Citroën cars which he called “machines of happiness”. The house brings out Le Corbusier’s vision of what a modern home should be, a completely abstract house that can be multiplied.

Le Corbusier developed the 5 points of modern architecture, where the most important things are the replacement of walls by pillars, an open floor plan, a façade free of ornamentation, horizontal windows and a roof terrace, all reflected in “La ville Savoye” his great work built in 1929.

Maison Citröhan is a house design based on an architectural walk. The experience is in movement between spaces. “He wants to spread his philosophy of modern life, he designs neighborhoods of “maisons”, proposing more functional, more rational cities in keeping with the new times.”

Under these premises, he built the “Maison La Roche-Jeanneret”, a large house for two families based on an architectural promenade of classical proportions and modern techniques, commissioned by the banker Le Roche and his own partner and cousin. Today it houses The Le Corbusier Foundation.

He wants to spread his philosophy of modern life, he designs neighborhoods of “maisons”, proposing more functional, more rational cities in keeping with the new times. He founds the Congrès International d ‘Architecture Moderne, CIAM to spread architecture as an economic and political tool that could be used to improve the world through building design and urban planning.

He goes on journeys as a prophet of the new architecture. He goes to Madrid, Barcelona,Buenos Aires, Rio de Janeiro, giving conferences, proposing new structures for cities. In the middle of the Nazi occupation in France, incomprehensibly he moves to Vichy near the collaborationist government, nobody understands what Le Corbusier is doing. After the collapse of the Nazis, Le Corbusier took refuge in his privacy by developing the “”, a system of measurements based on the proportion of the human body.

Maison La Roche-Jeanerett The concept of the city of Chandigarh is based on four main functions: living, working, taking care of the body and the spirit and moving about. “After the collapse of the Nazis, Le Corbusier took refuge in his privacy by developing the “Modulor”, a system of measurements based on the proportion of the human body.”

Chapelle Notre Dame du Haut

After the war his collaborationist past was excused, and the Ministry of Reconstruction of the Republic asked for his collaboration to raise the country. The French Government sent him as representative for the construction of the United Nations building. He was disappointed that his project was not carried out. He returned to France to build one of his most influential projects, L’Unité d’Habitation or Cité Radieusede or La Maison du Fada, whatever you want to call this fantastic building in Marseille. It is a huge concrete frame of collective housing, which stands flawlessly on pillars as a great gesture of exaltation of the collective. At last, he can put all his ideas into practice. The split-level apartments are small but have a balcony and offer quality of life. Common services include a terrace that can be used by the tenants, a nursery, a swimming pool and a cinema and a library. We are in 1947 with Le Corbusier at 60.

In this late period Le Corbusier began to take a more poetic vision, a primitive gesture within that impeccable gaze. He built the “Chapelle Notre Dame du Haut” in Ronchamp, and the La Tourette monastery, both in clearly expressionist ways. The rationalist teacher had become irrational, he is suddenly a rough and tactile architecture.

In 1950 when he was 63, he had a dream come true. He was commissioned to build Chardigarh the modern city in India. He travelled to India, soaking up the culture, planning a city of democratic scale and as a symbol of peace, an open hand to heaven. Commissioned by rich textile industrialists he built several villas in India using a very chromatic aesthetic always with a Catalan vault and a fresco on one of the walls as the Le Corbusier stamp. “In the last years of his life, after the death of his wife Yvonne, he settled in Le Petit Cabanon in Roquebrune-Cap-Martin, a small rectangular building”

Between 1954 and 1956 he built the “” in Paris with this same chromatic aesthetic. Nobody understood Le Corbusier’s chromatic stint. He felt segregated by his colleagues, dedicating the next 8 years to writing the “Poem of the Right Angle” as a recapitulation of his entire career.

In the 155 lithographed pages handwritten by Le Corbusier himself the text of the poem is accompanied by a multitude of drawings and 19 colour lithographs. A total work of art that combines writing, plastic arts and architectural reflection.

Together with the musician Xenakis, he created the “Electronic Poem” for the at the Universal Exposition in Brussels, seeking to reconcile musical harmony with the Modulor. It is difficult to interpret and yet fascinating.

His last buildings like the “Carpenter Centre of Visual Arts” are an affirmation of his fundamental ideas. He designed an architectural walk in the shape of an S connecting the two streets where it is located, it crosses the “Centre” through a large doorway where passers-by can see the studios.

In the last years of his life, after the death of his wife Yvonne, he settled in Le Petit Cabanon in Roquebrune-Cap-Martin, a small rectangular building measuring 3.66 x 3.66 m. and 2.66 m in height, which he designed for his wife as a birthday present. This is where he would make his most radical minimum living space idea a reality. The furniture, all made of natural wood, has a simple geometry that follows the partitions marked by Modulor. He died of a heart attack while having his daily swim in the Mediterranean on August 27th, 1965 in Roquebrun.

The life of Charles Eduard Jeanneret / Le Corbusier was a journey of knowledge in which he moved from fundamentalist dogmatism to the world of emotions, from geometry to the world of shells.

In 2016, 17 of his works were declared a World Heritage Site by UNESCO. Le Petit Cabanon Modulor

The dimensions start from the height of a man with a raised hand (226 cm) and then by half, from the height of the navel (113 cm). Taking the first measure and multiplying successively and dividing equally way by the golden number you get the blue series and in the same way the red one. Each being a Fibonacci sequence and allowing thousands of harmonic combinations. The Right-Angle Poem

In the 155 lithographed pages that make up the work, the text of the poem, handwritten by the artist himself is accompanied by a multitude of drawings and 19 full-page colour lithographs. The result is a great fresco, a total work of art that combines writing, art and architectural reflection. The sun, space and green are key determinants of nature that is placed at the service of the human being, living, working, cultivating the body and spirit, and moving around. In this order and in this hierarchy. LC4

LC2 LC1, LC2, LC4

With the collaboration of Charlotte Perrian and Pierre Jeanneret. In the design of chairs and armchairs between 1927 and 1930 they sought comfort for the different moments of the day, using, steel tubes and bovine skin as materials. The LC1 chair for conversations, the LC2 for relaxing and the LC4 for napping. LC1

“Fernando Botero, a Colombian painter and sculptor was born in Antioquia, Medellín province on April 19, 1932. When he was 12 his uncle sent him to a bullfighting school for 2 years. This bullfighting experience was a source of inspiration for his first drawings.” s a child he was fascinated by the polychrome figures of the saints and the large colonial baroque altars in churches. These were the only places where he could Acontemplate art. Between the ages of 13 and 14 he painted in the Antioquia watercolour tradition, motivated by two watercolourists who invited him to paint the ochre roofs of Medellín. In 1948 at the age of sixteen he began to work as an illustrator for the newspaper “El Colombiano”. His illustrations are characterized by the combination of poetic elements and the anatomical contrasts of the figures.

That same year he participated in his first exhibition a group show organized by the Medellín School of Fine Arts. His painting shows the influence of artists from the Mexican muralist school, such as Diego Rivera, David Alfaro, and José Clemente.

He met the painter Rafael Sáenz who introduced him to Giotto using reproductions and gave him valuable guidance for the development of his work.

In Botero’s early works you can see an interest in the management of volume and proportion. Later they will become key elements. Tribute to Andrea Mantegna. Fernando Botero. The Camera degli sposi. Oil on canvas 325 x 260 cm. 1958.

Andrea Mantegna. La Camera degli sposi. Fresco 1465 - 1474. “Eleven months after his first solo show he had the material for a second show in May 1952 in Bogotá”

Shortly after, he moved to Bogotá, where he joined the artistic avant-garde by frequenting the “Café Automática”, a meeting point for writers and intellectuals.

He participated in various group exhibitions. In June 1951 he held his first solo exhibition where he presented 25 watercolours, gouaches, drawings and oils. He used the money from the sales to travel to the Caribbean coast of the country, his first contact with the sea.

“EI was there for nine months, I lived in the house of a fisherman and I painted a lot, inspired by the reality of that life. There was a small carnival in Tolú, very primitive and colourful, that I tried to represent. When I returned to Bogotá and exhibited these canvases I was very successful, probably because people wanted to see truly Colombian paintings in which they could find their roots”.

Eleven months after his first solo show he had the material for a second show in May 1952 in Bogotá, where all the works were sold. He was 20 years old and this time he used the money to travel to Europe.

In Madrid he studied at the San Fernando Academy of Fine Arts and assiduously visited the Prado Museum to copy the works of the classics. Titian, Tintoretto, Velázquez, Rubens and Goya are his first direct and true encounter with art. Thanks to the advice of professional copyists, Botero developed a facet that was unknown in Colombia.

Vía Crucis Via Crucis is a work of tonal harmonies where Botero pays tribute to his masters of the Quattrocento. “After a year in Madrid, continued his artistic search. He spent the summer of 1953 in Paris where he visited the Louvre daily observing and studying great masters of European art but his fascination was Italy...”

Wandering through the streets of the Spanish capital he had a momentous experience:

“One day in Madrid something happened that changed my life. Late one night I was walking along one of those streets near the Prado where old- fashioned bookstores and antique dealers abound, and I saw in a shop window a book open to a page containing a reproduction of Piero della Francesca. It was The Queen of Sheba in Arezzo. I had never heard of this painter in my life; in Colombia we knew Rafael, Miguel Ángel, Tiziano, Tintoretto, Velázquez. This reproduction made a huge impression on me, it was like a flash of lightning. The next day I bought that book; it was the “History of Italian Painting”, written by Lionello Venturi. The Quattrocento was a revelation. I wanted to understand Piero and to understand him I had to know all his roots: Paolo Ucello, Domenico Veneziano. Painting began to seem like a much more important thing to me than I had previously believed; it was a science with precise and complicated rules, rules that I had not been able to even guess before, but now I wanted to know and master them. So, I changed all my plans and in a sense that changed my life.”

After a year in Madrid, continued his artistic search. He spent the summer of 1953 in Paris where he visited the Louvre daily observing and studying great masters of European art but his fascination was Italy.

Rubens and his wife by Botero. 1965 Mona Lisa at 12 years old. Oil on canvas 211 x 196 cm. 1958 “Botero firmly chooses realism as the only form of true avant-garde.”

Bathtub in the Vatican. 2006

He travelled to Florence and enrolled in the Academy of San Marcos to learn the technique of Italian fresco. He attended Roberto Longhi’s lectures on the History of Art in the 15th century. He immersed himself in Bernard Berenson’s book - The Italian Painters of the Renaissance - which reveals the tactile values of painting and the representation of volume.

He studied Giotto, da Vinci, Mantegna and in particular Piero della Francesca. He learnt about the fullness of form from them, the organization of space, chromatic harmony and a passion for geometry. He studied how the great Renaissance masters integrated colour and form, creating a sense of volume without resorting to shadow, and the sense of monumentality produced by a low horizontal line...

In his essay on Giotto Berenson speaks of him as the supreme teacher for stimulating tactile awareness, by allowing us to understand the image at first glance; of how Piero della Francesca, through artistic impersonality, paints without any emotion or questioning about what he feels, of refusing to reproduce his own feelings. Together with the impassivity shown by the characters these are the great virtues of Piero which translate into an enduring sense of calm and heroic majesty.

Mona Lisa at 12 years old. The trip to Europe gave Botero a theoretical basis, crucial to his artistic search. From that moment on, his main objective would be to Oil on canvas 211 x 196 cm. achieve the ability to express the essential. 1958 In the 1964 series Bodegones Botero gives life to objects and scenes of everyday life. “For years I believed in myself and what I was doing, against the worst criticisms. In the magazine News they said, for example, that my figures were “ foetuses made by Mussolini with an idiot girl.”

The kiss of Judas. Oil on canvas 138 x 159 cm. 2010.

In March 1955 Botero returned to Bogotá with twenty canvases painted in Florence, which were exhibited two months later in the Gregorio Vázquez Room of the National Library of Colombia. His painting expresses a sensibility visibly altered by the Florentine painting of the Quattrocento, a painting that he defines as volumetric.

Botero firmly chooses realism as the only form of true avant-garde.

This rupture with the contemporary art world confirmed his decision to assume the risks of artistic creation alone.

“For years I believed in myself and what I was doing, against the worst criticisms. In the magazine News they said, for example, that my figures were “ foetuses made by Mussolini with an idiot peasant girl.” The Art Magazine treated me better, said that my painting was “a monument to stupidity”. And these were the ones who talked about my painting in relation to my work because others talked about Botero’s “caricatures” ... During all that storm, I kept my faith in myself and in my work.” livre premier chapitre XXXVI, 100 x 100 cm, mixed technique, Colera 2018 livre premier chapitre XXXVI, 100 x 100 cm, mixed techniqu, Colera 2018

ART CONTEMPORANI

Contact: [email protected] / @pepitakunst / +34 644 811 429 contact: Graphic and editorial design +34 625 056 562 Corporate Identity / Branding [email protected] Graphic and audiovisual communication www.caydesign.es Typography & Lettering facebook-caydesign Design Interface Devices & Apps Marketing strategies Packaging Web design and development Online & offline advertising Copywriting / Naming Community Management