Grupo Ruptura was launched in São Paulo in 1952. The Ruptura movement rejected naturalism in favour of an analytical and theoretical approach to art. Logic and mathematics were tools for understanding and portraying objective reality. Industrially smooth surfaces emphasised that the work of art was independent of the artist.
Judith Lauand, Construção espacial com triângulos e retas (Spatial Construction with Triangles and Lines), 1954. Discover artists and concretism from the mid-20th century Latin America in the exhibition ’Concrete Matters’ (link in bio). #ModernaMuseet#Concretism
Courtesy: Colección Patricia Phelps de Cisneros
”After having taught for half a century, i believe that art cannot be taught, but a lot can be done to open eyes and minds to meaningful form.” Josef Albers, Study for Homage to the Square. Evident, 1960, in the Collection. Free admission! #ModernaMuseet#JosefAlbers
Carlos María (Rhod) Rothfuss (1920–1969) was an artist and theoretician from Montevideo, Uruguay. He moved to Buenos Aires in 1942, where he joined Argentinian avant-garde circles. In an article about the problem of the frame in contemporary art published in the magazine Arturo, Rothfuss argued that the irregular canvas was the solution to the problem of the inability of painting to break away from illusionism. The edge of the canvas, he suggested, should interact with the painting’s inner composition and be an active part of the work.
Discover artists and concretism from the mid-20th century Latin America in the exhibition ’Concrete Matters’ (link in bio). #ModernaMuseet#Concretism
Credit: Rhod Rothfuss, Cuadrilongo amarillo (Yellow Quadrilongo), 1955 Rhod Rothfuss
Joaquin Torres-Garcia (1874–1949, Montevideo) was a pioneer of non-figurative art and a central figure in the Latin American art scene. Torres-Garcia stressed that art in Uruguay should be filled with content created by the people. He encouraged his colleagues to have a global approach but without forgetting their local context.
Behind the museum is a labyrinthine roofless brick building. You can enter it and experience it from inside. Per Kirkeby’s paintings and bronze sculptures are wild and expressive, but his brick works are terse and architectonic, somewhere in between sculptures and buildings. Per Kirkeby, Untitled, 1999-2000. #ModernaMuseet#PerKirkeby
The concretists said that figurative, representational art tended to “dampen the cognitive energy of man, distracting him from his own powers”. Juan Melé, Marco recortado N° 2 (Irregular Frame N° 2), 1946 in exhibition ’Concrete Matters’ until 13.5 2015. #ModernaMuseet#JuanMelé Juan Melé
A painting should not symbolise or mean anything other than itself. In this way, the concretists claimed, the work was not abstract but concrete, since “nothing is more concrete or real than a line, a colour, a surface”. Hélio Oiticica, Monocromático vermelho, ca 1959, in the exhibition ’Concrete Matters’ until 13.5 2018. #ModernaMuseet#HélioOiticica César and Claudio Oiticica
“The age of representational fiction in art has come to an end. Man is less and less sensitive to illusory images. (…) The old phantasmagorias no longer satisfy the aesthetic appetite of the new man, formed in a reality that demands of him his total presence, without reservations.”
These are the introductory words of the Inventionist Manifesto (Manifiesto invencionista), which was signed by 16 artists in Buenos Aires in 1946.
The exhibition ’Concrete Matters’ highlights art from the mid-1930s to the 1970s when Latin American artists were exploring the boundaries of Concretism, and of art itself. Open until 13.5 2018. #ModernaMuseet#Concretism
Caption: Lygia Clark, Estudo para plano em superficie modulada No. 4–Serie B, 1957 Courtesy Colección Patricia Phelps de Cisneros
Tova Mozard’s photographs are charged with allusions to film, both in content and style. The cinematic settings are both familiar and strange. The scenes invite us to see them as precisely that, scenes in a narrative.
Tova Mozard, Clifton’s II, 2003, in the exhibition ’Golden Sunset’. Last chance to see the exhibition. Open until 4.3 2018. #ModernaMuseet#TovaMozard
The concretists rejected the illusionism that artists had used over the centuries to create a three-dimensional pictorial space on the two-dimensional surface of the canvas. Instead, they proposed that people should be surrounded by real things, not illusions.
Gego, Esfera (Sphere), 1976, in the exhibition ’Concrete Matters’ until 13.5. #ModernaMuseet#Gego
Caption: Colección Patricia Phelps de Cisneros Fundación Gego
The term “concrete art” was coined in 1930 by the Dutch artist Theo van Doesburg (1883–1931) when he started the group Art Concret in Paris. They were looking for a new formal idiom that was unfettered by figurative or abstract motifs. Instead, they aspired to create an autonomous reality using plane geometric shapes that they regarded as universal.
The exhibition ’Concrete Matters’ presents concrete and neo-concrete art from Uruguay, Argentina, Venezuela and Brazil. On view until 13.5 2018. #ModernaMuseet
”There is always something spirutual about the approach of winter. You retire into your innermost chambers and camp near the small glow you find there.” Paul Klee, Tiermonument, 1938, in our Collection. Free admission! #ModernaMuseet#PaulKlee