By: Olivier Debroise.
Over time, perhaps, the work of Mathias Goeritz, reveal its hidden meanings, the mythical dimension that the artist tried to impose on artistic creation, and can only be understood as a recovery of a classical notion of art revitalized by the vanguard. Mathias Goeritz
had, in effect, a mystical art or, rather, of artistic production, which distinguishes it from many of his contemporaries, but also places it in all the artists within the twentieth century, the great creators of art abstract unsuccessfully sought-completely-detached artistic practice everyday contingencies, the baseness of the real world. More about it from members of the Bauhaus, which reached a known in Germany, which Americans followed suit, Mathias Goeritz considered artistic creation, such as philosophy, ethics, and poetry. Formidable reaction with the assumptions of the preceding generation of artists interested in submitting their work in the real world, in the description of social realities.
One element, however, Mathias Goeritz distinguishes artists of his generation of abstract expressionists and geometric as Barnett Newman and Frank Stella, particularly, formed in a time of serious tensions in Europe in the middle break, Goeritz was to swell, very early, the hordes of refugees who wandered from one country to another, from one continent to another , on the eve of World War II and still later, when the European map was redesigned, and could never, never wanted, forget this teaching. Even if your work participates in many aspects of the redemptive optimism of the postwar era, retains a healthy dose of skepticism that betrays its origin. This notion of crisis, and its Germanic origins, Mathias Goeritz always keep a sense of control, preventing you from throwing buckets Painting the floor, or wildly smearing his canvases with any material found. Also keep a social conscience, or perhaps it means social generosity which prompted him to deal directly with the artists for a "new realism", destructive and nihilistic way of Dada, in an act of vindication of art as ritual processing path to a higher reality. L'art contre l'art merde prière, the manifesto of 1960 against auto-mechanical parts from Jean Tinguely, presenting his program from the title. Mathias Goeritz
had moved to America with his European background of disenchanted and jaded, and he also felt that this new land, this land "promised" it would redeem. No one will ever be mentioned in Mexico's cultural nationalism, question Goeritz abroad for its quality, unlike other (Pablo O'Higgins, etc.) Never claimed for himself a Mexican. German remained subject of a nation in two. The importance of his work, and its latent influence, in any case, it rises above this contingency.
What impact could have the teen scream "I'm sick!" in a culture like Mexico, paralyzed by his desire / panic confront the big old world? Mathias Goeritz wanted to act as if nothing had past, and had to learn, therefore, to remain in an unstable equilibrium. Many of his proposals, after all, realize it. Mathias Goeritz
For the creation was an operation sensual, extremely complex, aimed at awakening the senses. In a manifesto of 1953, bounced back to their own purposes the word "emotional", applied particularly to the architecture. The painting, applying color on a flat support, was insufficient. The sculpture, in its traditional form, perhaps more enticing, especially after Brancusi, Noguchi, "not satisfied either," was perhaps too default half, more regulated the paint. Mathias Goeritz was excellent in the architecture, which presupposed the integration of all these techniques, meant to model the space, transform it again walkable, livable. Full of emotions.
His attempt seemed excessive: Goeritz, in fact, started a revolution, few, perhaps, understood at the time. The impetus was, above all, poetry. What does this mean? A search of sublimation, perhaps, the attempt to set a new, unprecedented, art form, one function of the artist, considering (considering) as being full of generosity and kindness superhuman, in direct communication with materials, angelic, perhaps. The idea of \u200b\u200ban artist to the atomic age that makes up (in the musical and mathematical sense of the word) with the new information made available by science (this, of course, before the evil, disgusting, uses of the atom) . Many tried (Paul Klee, the first) and most failed (the most, Rufino Tamayo, in recent decades) can not play with impunity with the cosmic forces, with the revs. Mathias Goeritz
never attempted to challenge the world, or mold, it saved her shyness. He described the atomic revolution with the same terror of primitive man, the man at the dawn of intelligence, he discovered astonished that the sun was spinning in the sky and miraculously appeared at the other end, the stars did not retain the same place at night and the earth, at times, was moved. But Goeritz know, being a man of the twentieth century, that matter is soft, the sun dries the earth, fire boils water, and the man with his intelligence, his slowness in learning, memory, can transform everything.
sublime experience, which always dealt with modesty Goeritz: tried to make their own modifications, their own revolutions, shy, molecular, prompt and inconsequential.
The almost immediate abandonment of painting for painting, reuse objects and materials, is established in acknowledgment of the limits, and the consequent cry of emotions to discover that these limits may be molecularly exceeded. Hence, in this short space between the possible and impossible, lies the poetry, is born of emotion.
However the involvement of other creators, Chucho Reyes and Luis Barragan, the very conception of the Satellite Towers (1957-1958) clearly shows this constant self-conscious of the work of Mathias Goeritz. Towers installed on top of a hill, across a wide valley on a stage, as it somehow, "Italian," and through an optical device that is derived from treaties classical perspective of the fifteenth century, Alberti and Brunellescchi, achieved a reduction of scale, a denial of monumentality. Despite its necessary height, with its sharp profile and foreshortening just suggested, Torres, simple, crisp color scratch, fall quite naturally into the landscape, even now, that has been invaded by buildings, neon signs, light poles , telephone and pedestrian underpasses. In its conception, the Towers are opposed in the insistent verticality of the works of Barnett Newman, for example.
most obvious yet intense, but always discreetly Mathias Goeritz mystical poetry, and perhaps his masterpiece, Sculpture Space on the rocky lava of the City University: more than an attempt to control nature, stony chaos enclosing a wall, the circle of monoliths open to the sky thought-provoking or, rather, to meditation. [1] Here again, the landscape retains its rights, and the buildings just emerge. This is perhaps one of the few if not the only twentieth-century sculpture that meets, indeed, its mission, as they check every day the young and not so young, who sleep on the monoliths, they play hide and seek will hold hands, look at the sky. Meditate. Never before Goeritz concept of an "emotional architecture" made such a splash. With a few simple concrete blocks, Mathias Goeritz poetry set amidst the stones.
With Chucho Reyes Luis Barragan and his companions from the early days of exile in Guadalajara, Goeritz had discovered the intensity of religious feeling in his adopted country. The recovery of the ancient technique of stew, with applications of gold leaf, in a series of works from the late fifties, complementing the architectural proposals of Barragán, inspired by the massive forms and an alleged restraint of monasteries century New Spain XVI. Here again, trying to raise Goeritz on the surface of the works, intentions the vanguard (the square of Kasimir Malevich) and emotions of magical-religious type, the mystique of art. Clouages \u200b\u200bseries, immediately after, with its aggressive looks and clear reference to Christian symbols, forms perhaps the most intensely emotional proposal, while paradoxically, of Goeritz.
provocative, though devoid of humor other assemblages of found objects, and on the verge of that years later would be called minimalist art, the clouages \u200b\u200bperfectly messy or organized on a geometric pattern, questioning the audience twice. Include, and that is perhaps most important, an element extraplástico, that comes directly from architectural projects: a review of light as a compositional element. The texture of the clouages, indeed, is constantly changing depending on the lighting, the shadows of the nails, shaping the particular rhythm of each piece. Appeal to mystical feelings (crucifixions without object), while paving the way for abstract geometry, the mode through which the lead is inserted in Mexico, with a little searching late Vicente Rojo, Kasuya Sakai, Manuel Felguérez and Sebastian. In its own way, are scale models, architectural and sculptural reduction, which allow analyze the forms and metamorphosis.
[1]. The sculpture area is presented as a collective work, although the concept of the piece is by Mathias Goeritz. In it, too, we discover his modesty.
Over time, perhaps, the work of Mathias Goeritz, reveal its hidden meanings, the mythical dimension that the artist tried to impose on artistic creation, and can only be understood as a recovery of a classical notion of art revitalized by the vanguard. Mathias Goeritz
had, in effect, a mystical art or, rather, of artistic production, which distinguishes it from many of his contemporaries, but also places it in all the artists within the twentieth century, the great creators of art abstract unsuccessfully sought-completely-detached artistic practice everyday contingencies, the baseness of the real world. More about it from members of the Bauhaus, which reached a known in Germany, which Americans followed suit, Mathias Goeritz considered artistic creation, such as philosophy, ethics, and poetry. Formidable reaction with the assumptions of the preceding generation of artists interested in submitting their work in the real world, in the description of social realities.
One element, however, Mathias Goeritz distinguishes artists of his generation of abstract expressionists and geometric as Barnett Newman and Frank Stella, particularly, formed in a time of serious tensions in Europe in the middle break, Goeritz was to swell, very early, the hordes of refugees who wandered from one country to another, from one continent to another , on the eve of World War II and still later, when the European map was redesigned, and could never, never wanted, forget this teaching. Even if your work participates in many aspects of the redemptive optimism of the postwar era, retains a healthy dose of skepticism that betrays its origin. This notion of crisis, and its Germanic origins, Mathias Goeritz always keep a sense of control, preventing you from throwing buckets Painting the floor, or wildly smearing his canvases with any material found. Also keep a social conscience, or perhaps it means social generosity which prompted him to deal directly with the artists for a "new realism", destructive and nihilistic way of Dada, in an act of vindication of art as ritual processing path to a higher reality. L'art contre l'art merde prière, the manifesto of 1960 against auto-mechanical parts from Jean Tinguely, presenting his program from the title. Mathias Goeritz
had moved to America with his European background of disenchanted and jaded, and he also felt that this new land, this land "promised" it would redeem. No one will ever be mentioned in Mexico's cultural nationalism, question Goeritz abroad for its quality, unlike other (Pablo O'Higgins, etc.) Never claimed for himself a Mexican. German remained subject of a nation in two. The importance of his work, and its latent influence, in any case, it rises above this contingency.
What impact could have the teen scream "I'm sick!" in a culture like Mexico, paralyzed by his desire / panic confront the big old world? Mathias Goeritz wanted to act as if nothing had past, and had to learn, therefore, to remain in an unstable equilibrium. Many of his proposals, after all, realize it. Mathias Goeritz
For the creation was an operation sensual, extremely complex, aimed at awakening the senses. In a manifesto of 1953, bounced back to their own purposes the word "emotional", applied particularly to the architecture. The painting, applying color on a flat support, was insufficient. The sculpture, in its traditional form, perhaps more enticing, especially after Brancusi, Noguchi, "not satisfied either," was perhaps too default half, more regulated the paint. Mathias Goeritz was excellent in the architecture, which presupposed the integration of all these techniques, meant to model the space, transform it again walkable, livable. Full of emotions.
His attempt seemed excessive: Goeritz, in fact, started a revolution, few, perhaps, understood at the time. The impetus was, above all, poetry. What does this mean? A search of sublimation, perhaps, the attempt to set a new, unprecedented, art form, one function of the artist, considering (considering) as being full of generosity and kindness superhuman, in direct communication with materials, angelic, perhaps. The idea of \u200b\u200ban artist to the atomic age that makes up (in the musical and mathematical sense of the word) with the new information made available by science (this, of course, before the evil, disgusting, uses of the atom) . Many tried (Paul Klee, the first) and most failed (the most, Rufino Tamayo, in recent decades) can not play with impunity with the cosmic forces, with the revs. Mathias Goeritz
never attempted to challenge the world, or mold, it saved her shyness. He described the atomic revolution with the same terror of primitive man, the man at the dawn of intelligence, he discovered astonished that the sun was spinning in the sky and miraculously appeared at the other end, the stars did not retain the same place at night and the earth, at times, was moved. But Goeritz know, being a man of the twentieth century, that matter is soft, the sun dries the earth, fire boils water, and the man with his intelligence, his slowness in learning, memory, can transform everything.
sublime experience, which always dealt with modesty Goeritz: tried to make their own modifications, their own revolutions, shy, molecular, prompt and inconsequential.
The almost immediate abandonment of painting for painting, reuse objects and materials, is established in acknowledgment of the limits, and the consequent cry of emotions to discover that these limits may be molecularly exceeded. Hence, in this short space between the possible and impossible, lies the poetry, is born of emotion.
However the involvement of other creators, Chucho Reyes and Luis Barragan, the very conception of the Satellite Towers (1957-1958) clearly shows this constant self-conscious of the work of Mathias Goeritz. Towers installed on top of a hill, across a wide valley on a stage, as it somehow, "Italian," and through an optical device that is derived from treaties classical perspective of the fifteenth century, Alberti and Brunellescchi, achieved a reduction of scale, a denial of monumentality. Despite its necessary height, with its sharp profile and foreshortening just suggested, Torres, simple, crisp color scratch, fall quite naturally into the landscape, even now, that has been invaded by buildings, neon signs, light poles , telephone and pedestrian underpasses. In its conception, the Towers are opposed in the insistent verticality of the works of Barnett Newman, for example.
most obvious yet intense, but always discreetly Mathias Goeritz mystical poetry, and perhaps his masterpiece, Sculpture Space on the rocky lava of the City University: more than an attempt to control nature, stony chaos enclosing a wall, the circle of monoliths open to the sky thought-provoking or, rather, to meditation. [1] Here again, the landscape retains its rights, and the buildings just emerge. This is perhaps one of the few if not the only twentieth-century sculpture that meets, indeed, its mission, as they check every day the young and not so young, who sleep on the monoliths, they play hide and seek will hold hands, look at the sky. Meditate. Never before Goeritz concept of an "emotional architecture" made such a splash. With a few simple concrete blocks, Mathias Goeritz poetry set amidst the stones.
With Chucho Reyes Luis Barragan and his companions from the early days of exile in Guadalajara, Goeritz had discovered the intensity of religious feeling in his adopted country. The recovery of the ancient technique of stew, with applications of gold leaf, in a series of works from the late fifties, complementing the architectural proposals of Barragán, inspired by the massive forms and an alleged restraint of monasteries century New Spain XVI. Here again, trying to raise Goeritz on the surface of the works, intentions the vanguard (the square of Kasimir Malevich) and emotions of magical-religious type, the mystique of art. Clouages \u200b\u200bseries, immediately after, with its aggressive looks and clear reference to Christian symbols, forms perhaps the most intensely emotional proposal, while paradoxically, of Goeritz.
provocative, though devoid of humor other assemblages of found objects, and on the verge of that years later would be called minimalist art, the clouages \u200b\u200bperfectly messy or organized on a geometric pattern, questioning the audience twice. Include, and that is perhaps most important, an element extraplástico, that comes directly from architectural projects: a review of light as a compositional element. The texture of the clouages, indeed, is constantly changing depending on the lighting, the shadows of the nails, shaping the particular rhythm of each piece. Appeal to mystical feelings (crucifixions without object), while paving the way for abstract geometry, the mode through which the lead is inserted in Mexico, with a little searching late Vicente Rojo, Kasuya Sakai, Manuel Felguérez and Sebastian. In its own way, are scale models, architectural and sculptural reduction, which allow analyze the forms and metamorphosis.
[1]. The sculpture area is presented as a collective work, although the concept of the piece is by Mathias Goeritz. In it, too, we discover his modesty.
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