Mathias Goeritz 2019
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The Casa Cristo Gardens in Guadalajara, Jalisco, Mexico
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2001 Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The aC sa Cristo Gardens in Guadalajara, Jalisco, Mexico Marcela De Obaldia Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Landscape Architecture Commons Recommended Citation De Obaldia, Marcela, "Towards Establishing a Process for Preserving Historic Landscapes in Mexico: The asC a Cristo Gardens in Guadalajara, Jalisco, Mexico" (2001). LSU Master's Theses. 2239. https://digitalcommons.lsu.edu/gradschool_theses/2239 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. TOWARDS ESTABLISHING A PROCESS FOR PRESERVING HISTORIC LANDSCAPES IN MEXICO: THE CASA CRISTO GARDENS IN GUADALAJARA, JALISCO, MEXICO. A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master in Landscape Architecture in The Department of Landscape Architecture by Marcela De Obaldia B.Arch., Universidad Autónoma de Guadalajara, 1998 May 2002 DEDICATION To my parents, Idalia and José, for encouraging me to be always better. To my family, for their support, love, and for having faith in me. To Alejandro, for his unconditional help, and commitment. ii ACKNOWLEDGEMENTS I would like to thank all the people in the Department of Landscape Architecture for helping me to recognize the sensibility, kindness, and greatness behind a landscape, and the noble tasks that a landscape architect has in shaping them. -
The Concrete Poetry of Mathias Goeritz: a Graphic and Aural Analysis
Natalia Torija-Nieto HA-551-05/06: History of Sound Art December 19, 2014 FA14 | Pratt Institute | Instructor: Charles Eppley The Concrete Poetry of Mathias Goeritz: a Graphic and Aural Analysis This essay focuses on the work of German-Mexican artist Mathias Goeritz as influenced by the performances and writings of Hugo Ball and Dada sound art and poetry. Goeritz’s rather spiritual approach towards the pursuit of the Gesamtkunstwerk, are key to understand the roots of his work and his short but noteworthy venture into concrete poetry. The aural component in the realization of his work is associated with the adapted readings and performances of this kind of poetry worldwide during the 1950s and 60s with artists such as Eugen Gomringer, Augusto and Haroldo de Campos, Décio Pignatari, and Mary Ellen Solt, among others. By historicizing the main influences and artists that inspired these poets, I will explore the consequent concrete poetry movement of the post-war era that is visible through their works, particularly on Mathias Goeritz. !1 In his essay on concrete poetry, R.P. Draper defines the term as “the creation of verbal artifacts which exploit the possibilities, not only of sound, sense and rhythm—the traditional fields of poetry—but also of space, whether it be the flat, two-dimensional space of letters on the printed page, or the three-dimensional space of words in relief and sculptured ideograms.”1 Concrete poetry challenges the conventional expressiveness of traditional poetry by considering its play of visual, graphic, and aural qualities. This essay presents examples of the work of Mathias Goeritz and his Latin American contemporaries, particularly the Brazilian group Noigandres formed by Haroldo and Augusto de Campos and Décio Pignatari, who first introduced the term “concrete poetry” in 1953. -
237 Luis Barragán and the Invention of Mexican
LUIS BARRAGÁN AND THE INVENTION OF MEXICAN REGIONALISM Giulia Mela Università IUAV di Venezia / IUAV University of Venice, Venice Italy. Abstract The work of Luis Barragán (1902-1988) embodies Mexican identity, and the architect is considered one of the most important figures of the Critical Regionalism movement in Latin America. Nevertheless, a comprehensive analysis of his own private library–kept at the Barragan Foundation, Switzerland and Fundación de Arquitectura Tapatía Luis Barragán, Mexico–tells a different story. In fact, the contemporary critical reception of his work has a far more complex genesis, which might be summarised as follows: 1. Barragán, nemo propheta in patria. For many years, Barragán’s work was better known abroad than in his own country. The national recognition came in 1976, with the Premio Nacional de Ciencias y Artes, after an exhibition at the MoMA in New York. At that time, Barragán was a 74-year old architect that had realized some of his most famous projects, such as the Casa Barragán, Tlalpan Chapel, Cuadra San Cristóbal, and Casa Gilardi. 2. Barragán, forger of an independent path. The urban project for Jardines del Pedregal was the turning point of Barragán’s career, and from the mid-1940s the architect distanced himself from the research path of his colleagues. His detachment from the academic, political, and theoretical infrastructure allowed him to develop an autonomous language. 3. Barragán, a “visual” architect. Barragan defined his work as “autobiographical” and inspired by the colonial villages of his childhood. This is partially true; alongside Mexican architecture, the architect was deeply fond of the timeless aura of vernacular architecture in general. -
Museu Experimental El Eco, De Mathias Goeritz: Um Intervalo No Tempo
MUSEU EXPERIMENTAL EL ECO, DE MATHIAS GOERITZ: UM INTERVALO NO TEMPO ADRIANA CAROLINA BROILO Adriana Carolina Broilo UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL FACULDADE DE ARQUITETURA PROGRAMA DE PESQUISA EM PÓS-GRADuaÇÃO EM TEORIA, HISTÓRIA E CRÍTIca DA ARQUITETURA Museu Experimental El Eco, de Mathias Goeritz: um intervalo no tempo Dissertação de Mestrado em Teoria, História e Crítica da Arquitetura Linha de Pesquisa Arquitetura brasileira e cultura disciplinar. Levantamento e análise da produção arquitetônica brasileira e seus elos com a cultura disciplinar global, com ênfase na produção moderna e seus desenvolvimentos latino-americanos. Orientadora Profª. Drª. Claudia Piantá Costa Cabral Porto Alegre 2015 “Por seres tão inventivo E pareceres contínuo Tempo, tempo, tempo, tempo És um dos deuses mais lindos Tempo, tempo, tempo, tempo” Oração ao Tempo - Caetano Veloso agRADECIMENTOS Dedico esse trabalho à minha mãe, Inez, a quem agradeço pelo exemplo de dedicação e vontade em ensinar e aprender. Ao meu pai, Reni, que me ensinou que “o saber não ocupa espaço”. Aos meus irmãos, Adriano e Alexandre, com quem aprendi a somar e dividir amor. Ao Guilherme Dable pela confiança e incentivo, pela dedicação ao projeto gráfico desse trabalho, pela amizade que nos anima, pelo amor que nos une e pela arte na arquitetura da nossa vida. A Claudia Cabral pela orientação, estímulo e contribuições. A Rosita Borges, infalível na secretaria do PROPAR, pela gentileza, disposição e sorriso generoso. Aos colaboradores do México, arquiteto Victor Jiménez, que gentilmente me recebeu, compartilhou seu tempo, sabedoria e arquivos, e pela paciência com meu portunhol. Ao arquiteto Juan Pablo Maza, pela atenção, informações e arquivos. -
Mi Casa Es Mi Refugio: at the Service of Mexican Modernism in Casa Barragán
The Avery Review Francisco Quiñones – Mi casa es mi refugio: At the Service of Mexican Modernism in Casa Barragán Few people are aware that the house designed by Mexican architect Luis Citation: Francisco Quiñones, “Mi casa es mi refugio: At the Service of Mexican Modernism in Casa Barragán—known today as Casa Barragán—was designed originally for not Barragán,” in the Avery Review 48 (June 2020), just one occupant but two. Similarly, few know that this house, built in 1948, http://averyreview.com/issues/48/mi-casa. was not only Barragán’s residence but also the studio where he tested ideas and designed many of his best-known works. In 1982, reflecting on several of Barragán’s projects, American author and architectural historian Esther McCoy [1] In a letter to Barragán dated November 9, 1982, referred to his architecture as the result of a beautiful contradiction: that of a McCoy wrote, “How true you have always been to your genius, dear Luis. And in doing so I think that you above seeming calm that contained the effervescence of memories beneath.[1] And all others have been truer to Mexico. You celebrate Mexico with a Doric calmness; but infinite memories of indeed, visiting this house on General Francisco Ramírez Street in the historic place seem to seethe beneath the calmness.” McCoy working-class neighborhood of Tacubaya does reveal a contradiction, though to Luis Barragán, November 9, 1982, in Esther McCoy papers, 1876–1990, bulk, 1938–1989, Archives not the one pointed to by McCoy. of American Art (Washington, DC: Smithsonian In a 1987 interview by architecture critic Joseph Giovannini, Institution). -
Oro Mathias Goeritz
Exhibition Proposal Exhibition Proposal To the director, soundness, but the composition produces visual noise and becomes almost like a knitted pattern. The poem is a metaphor for gold as a mirage; a 'gold illusion' as well The following is a proposal for the exhibition Oro: the Language of Mathias as an 'artistic illusion', while his golden metal works also reflect on vanity, or the ego of Goeritz at the Americas Society in New York City to open on March 11, 2016 through the artist.5 May 9, 2016. I believe it is essential to devote focus of this kind to an artist that shared such Until the recent opening of a retrospective exhibition on the Mexican-German cultural diversity. By dedicating an exhibition to this particular theme, we can open the artist Mathias Goeritz (Danzig, 1915 – Mexico City, 1990) at the Museo Reina Sofía in path for new research on Goeritz’s revolutionary way of thinking guided by the Madrid,1 this artist’s work had mainly been shown internationally amid group shows.2 rebellious character of Dada. I want to take this opportunity to collaborate in the group Goeritz’s work spans from sculpture, painting and architecture, to poetry and art of papers that will form part of the exhibition catalogue. While there is much written criticism. His influence on mid-twentieth century Mexican art comes from the around Mathias Goeritz’s manifesto on emotional architecture, there has been little experimental ideas of the vorkurs method of teaching from the Bauhaus and German attention given to his use of gold as an aesthetic language. -
UNIVERSIDAD DE GUADALAJARA COORDINACIÓN GENERAL ACADÉMICA Coordinación De Bibliotecas Biblioteca Digital
UNIVERSIDAD DE GUADALAJARA COORDINACIÓN GENERAL ACADÉMICA Coordinación de Bibliotecas Biblioteca Digital La presente tesis es publicada a texto completo en virtud de que el autor ha dado su autorización por escrito para la incorporación del documento a la Biblioteca Digital y al Repositorio Institucional de la Universidad de Guadalajara, esto sin sufrir menoscabo sobre sus derechos como autor de la obra y los usos que posteriormente quiera darle a la misma. Av. Hidalgo 935, Colonia Centro, C.P. 44100, Guadalajara, Jalisco, México [email protected] - Tel. 31 34 22 77 ext. 11959 UNIVERSIDAD DE GUADALAJARA CENTRO UNIVERSITARIO DE CIENCIAS SOCIALES Y HUMANIDADES DIVISIÓN DE ESTUDIOS HISTÓRICOS Y HUMANOS MAESTRIA EN HISTORIA DE MÉXICO La ruptura como vanguardia. La obra escultórica de Mathias Goeritz, Guadalajara-Ciudad de México, 1949-1970. T E S I S PARA OBTENER EL TÍTULO DE: MAESTRO EN HISTORIA DE MÉXICO PRESENTA: Carlos Osbert Obet Gallegos Hernández Director: Dra. Rosa Alicia de la Torre Ruiz Guadalajara, Jal., Junio de 2016 Dr. Hugo Torres Salazar Coordinador de la Maestría en Historia de México Universidad de Guadalajara CUCSH Presente Por este conducto le comunico que el Lic. Carlos Osbert Obet Gallegos Hernández, pasante de la Maestría en Historia de México, generación 2014-2016, ha concluido satisfactoriamente su tesis de Maestría titulada La ruptura como vanguardia. La obra escultórica de Mathias Goeritz, Guadalajara-Ciudad de México, 1949-1970. El Lic. Gallegos Hernández ha incorporado a su trabajo las observaciones que se le han sugerido en su último seminario de avances de investigación, así como las correcciones que en mi calidad de directora de tesis he considerado oportuno señalar. -
Mathias Goeritz Obra Sobre Papel, Maquetas Y Esculturas
Mathias Goeritz Obra sobre papel, maquetas y esculturas INAUGURACIÓN JUEVES 11 DE NOVIEMBRE A LAS 20.00 H. Del 11 de noviembre al 7 de enero La Caja Negra presenta por primera vez en España una selección de obras de Mathías Goeritz, representante y testigo privilegiado de la vanguardia artística del siglo XX. "Creo que habrá que rectificar muy a fondo todos los valores establecidos si se quiere llegar a un arte nuevo e importante. Sigo viviendo con la ilusión de un Arte Mayor. Un arte que se desligue de la egocéntrica pequeñez de una ambición individual." Mathias Goeritz Nacido en 1915 en Danzig (hoy Gdansk), Goeritz recorrió el mundo para terminar instalándose en México. A lo largo de su vida y de sus viajes estuvo en contacto con algunos de los más importantes artistas del siglo XX desarrollando un trabajo propio individual, rico e interesantísimo con el que prefiguró muchos de los caminos por los que transcurriría el arte de la segunda mitad del siglo. Desde el surrealismo hasta la poesía concreta, pasando por el arte público y por el arte participativo, Goeritz fue un verdadero hombre del Renacimiento que dejó su impronta en sus obras y en su ejemplo. Sus colaboraciones con importantes arquitectos son hoy hitos de la arquitectura contemporánea. La exposición Mathias Goeritz presenta una completa mirada sobre la variada obra de este carismático y polifacético artista. Nacido en Danzig (hoy Gdansk) en 1915, Goeritz habría de recorrer un largo camino antes de aceptar la invitación de Ignacio Díaz Morales para dar clases de artes visuales e historia del arte en la facultad de arquitectura de la Universidad de Guadalajara. -
Ricardo Legorreta Vilchis, One of Contemporary
RICARDO Camino Real Hotel (Mexico City, 1968). icardo Legorreta Vilchis, one of contemporary Mex- of Japan. All these honors were added to the many others he ican architecture’s most talented, prolific, renowned, had received over his more than 50-year career.1 Rrecognizable creators, died in Mexico City on De- From a family of prominent bankers, Ricardo decided to cember 30, 2011. He had had a particularly intense year: he break with family tradition in 1948 and enroll in the UNAM’s turned 80 on May 7; on July 18, the Mexico City govern- National School of Architecture just after he turned 17. At ment paid him well-deserved homage; on September 22, he the same time, he began working as a draftsman in the offices was awarded an honorary doctorate by the National Autono- of José Villagrán García, considered the father of modern archi- mous University of Mexico (UNAM); and on October 19, he tecture in Mexico. Ricardo would soon head the workshop, and was awarded the Praemium Imperiale by the Art Association after he got his bachelor’s degree in 1953, he was taken in as a partner by Villagrán. In the early 1960s, he decided to found * Researcher at the UNAM School of Architecture, juanidelcueto@ his own firm, Legorreta Arquitectos, with his colleagues Noé gmail.com. Castro and Carlos Vargas. 62 LEGORRETA An Explosion of Color in Contemporary Architecture Allen Vallejo Juan Ignacio del Cueto Ruiz-Funes* From a family of prominent bankers, Ricardo decided to break with family Yajima Yasuhiro tradition in 1948 and enroll in the UNAM’s National School of Architecture just after he turned 17. -
The Route of Friendship a Testimony to Mexico City's Aesthetic Modernity
ARTANDCULTURE The Route of Friendship A Testimony to Mexico City’s Aesthetic Modernity Raymundo Ángel Fernández Contreras* he Route of Friendship, a collective work of 19 mon- umental concrete sculptures built to celebrate the T1968 Mexico Olympic Games, is unique in the his- tory of world contemporary urban art. Nineteen artists of dif- ferent races and ideologies, from all the world’s continents contributed pieces, which are placed along southern Mexico City’s Beltway.1 It was a special version of what in the 1950s Architect Pedro Ramírez Vázquez archive urban sculptors concerned about taking art to the nation’s roads and highways called an Artistic Way. Contingent on the capital city’s modern urbanism, the road was the outcome of common interests in the plans of archi- tect Pedro Ramírez Vázquez, the chairman of the Olympic Games Organizing Committee, and artist Mathias Goeritz. Ramírez Vázquez wanted to visually integrate sculpture and architecture with the Olympic Village as part of the Cultur- al Olympics activities. Goeritz used the opportunity of being appointed Olympic Committee artistic advisor to organize an international symposium with International Sculptors Fed- Herbert Bayer, Austria, Articulated Wall (station 13). eration (FISE) support, and to make ideas that had been buzzing around in the heads of a group of sculptors for at least 20 years a reality. It was the fulfillment of 20 years * Architect and art historian. Professor-researcher at the Acatlán of attempts by idealistic sculptors to create School of Higher Learning (FES-Acatlán). a collective body of art integrated into a highway Previous page: Angela Gurría, Mexico, Signs (station 1). -
Cómo Citar El Artículo Número Completo Más Información Del
Revista de Arquitectura ISSN: 1657-0308 ISSN: 2357-626X Universidad Católica de Colombia, Facultad de Diseño y Centro de Investigaciones (CIFAR) Cedeño-Valdiviezo, Alberto; Torres-Lima, Pablo Conservación del arte contemporáneo. El caso de Mathias Goeritz en la Catedral Metropolitana de México Revista de Arquitectura, vol. 21, núm. 1, 2019, Enero-Junio, pp. 44-53 Universidad Católica de Colombia, Facultad de Diseño y Centro de Investigaciones (CIFAR) DOI: https://doi.org/10.14718/RevArq.2019.21.1.2304 Disponible en: https://www.redalyc.org/articulo.oa?id=125160041005 Cómo citar el artículo Número completo Sistema de Información Científica Redalyc Más información del artículo Red de Revistas Científicas de América Latina y el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto Proyecto arquitectónicoA y urbano Architectural and urban project Conservation of contemporary art The case of the stained glass windows of Mathias Goeritz in the Metropolitan Cathedral of Mexico City Conservación del arte contemporáneo: el caso de Mathias Goeritz en la Catedral Metropolitana de México. Conservação da arte contemporânea: o caso de Mathias Goeritz na Catedral Metropolitana do México. Alberto Cedeño-Valdiviezo Pablo Torres-Lima Universidad Autónoma Metropolitana, Xochimilco, Ciudad de México (México) Division of Sciences and Arts for Design Alberto Cedeño-Valdiviezo PhD in Urbanism, Universidad Nacional Autónoma de México Division of Biological and Health Sciences (UNAM), Mexico. Postdoctorate in Inhabitability and Environmental Protection, Uni- versidad de Buenos Aires (UBA), Argentina. Member of the Mexican National System of Researchers, Level 1, of the National Council of Science and Technology (CONACYT). -
Mathias Goeritz: Metachromatic Opening Reception: Friday February 8, 6-9 Pm Exhibition Runs Through March 23, 2019 Gallery Hours: Tuesday to Saturday 11-6 Pm
Mathias Goeritz: Metachromatic Opening Reception: Friday February 8, 6-9 pm Exhibition runs through March 23, 2019 Gallery Hours: Tuesday to Saturday 11-6 pm Henrique Faria Fine Art is pleased to present Metachromatic, the first exhibition of the work of Mathias Goeritz (1915- 1990) in the gallery. This exhibition brings together a selection of metal relief panels, sculptures, photographs of architectural works, prints and paintings that demonstrate the artist’s career-long occupation with the physicality achieved through the application of light and color onto geometric and organic forms. While Goeritz came of age under and studied the influence of the deliberate rationalism of Modernist thinking in Europe, it was the unmeasurable and immeasurable of that which exists beyond calculated space and experience to which Goeritz dedicated much of his art making. After having lived in Mexico for five years, Goeritz formulated the principle of Emotional Architecture that would guide his work for the rest of his career. By casting aside the primacy of functionalism, logic and utility, Goeritz, through his works of visual art and architectural designs, worked to create environments that would elicit maximum emotion and spiritual connection, collaboration and freedom of creativity, that would be a space of transcendence within the strictures of modernity. As Daniel Garza-Usabiaga notes in the exhibition text, the titles Goeritz gave to his major works and series, Mensajes (Messages) and Mensajes metacromáticos (Metachromatic Messages) were because,