Showing posts with label Art Books. Show all posts
Showing posts with label Art Books. Show all posts

Sunday, July 23, 2017

ART-MAP inauguration ceremony at the Lúcio Craveiro Library

Braga ART-MAP inauguration ceremony at the Lúcio Craveiro Library

Art-Map "Thinking Baroque" is an artistic project that aims to map Portugal with art. The project organizes annual exhibitions of large-scale contemporary art in different cities, inviting Portuguese and foreign artists, known and emerging, to fascinate with the authenticity of the localities, to live the history and to exhibit in the best galleries.

This year, from July 22 to September 9, Art-Map presents itself in Braga with 270 works in nine historical buildings of the city: paintings, sculptures, installations, photography and video art, sound art and artists' books. The event also includes several artistic residencies, conferences with artists, workshops, a performance by the Spanish theatrical duo Balázs Várnai and Mercé de Rande and a concert of the legendary Wheat Man.

The 80 participating artists were selected from 311 proposals received to exhibit in Braga and are representatives of 21 countries, including, in addition to the EU, Israel, India, Dubai, USA, Cuba, Canada, Brazil and Costa Rica. Among them are Portuguese artists such as Alberto Vieira, Carlos Araújo, Carlos Teixeira, Costa Araújo, Patrícia Ferreira and Manuel Pereira da Silva.

"Thinking Baroque" was the challenge proposed to the artists to revitalize in their creations the motives of the baroque, studying the style and its concepts and how it can be manifested in contemporaneity.
This Festival-Route of the Arts invites visitors to be guided by the map and, one day, to visit the nine spaces in the city center, taking advantage of the contemporary art exhibition curated by Madina Ziganshina.

Wednesday, December 03, 2014


The age of aesthetics inflation is offset, des-hierarchical, and structurally eclectic.

We are in a fragmented culture, Balkanized, where they multiply many different miscegenation, where cohabit the most dissimilar styles, where the cool trends proliferate without order, without temporal regularity, worthless unit. With transaesthetic capitalism triumphs a chaotic profusion of styles in a huge supermarket trends and looks in fashion and design. It's a jarring proliferation, unregulated, featuring contemporary aesthetic field, parallel to economic deregulation, which constitutes the turbo capitalism.

Found in all the great museums of the world works or exhibitions of these contemporary artists in vogue.

According to the World Tourism Organization, has become, with its 900 million international travelers, the world's first industry, representing around 12% of world GDP. Never exhibitions and museums were such frequency records, 8.8 million to the Louvre, 6.5 million for the Palace of Versailles, 3.6 million from the Pompidou Centre in 2011.

The inflationary dynamics not confined to objects, styles and trends but also to classified monuments (in France has 38,000 historical monuments and picturesque villages 300) and art exhibition spaces. First, museums and contemporary art centers: worldwide, the number of museums increases 10% every five years, was in the United States before 1920, 1200 museums and about 8,000 in the early 80. It is said sometimes, by grace, which creates a museum by day in Europe: more than 30,000 museums are now classified in the 27 countries of the European Union. Paris alone has more than 150 museums. The number of museums in France is the subject of debate: in 2003, France Museums Direction declared in 1200 in the category of "museums of France," but beyond this category some guides publish lists ranging from 5000 to 10,000 museums. There is hardly a community that would not have "his" museum, as identity affirmation signal and which is not least as susceptible tourist attraction center to generate visitors and therefore commercial repercussions.

During the 80s, the number of art galleries experienced a great increase and has almost doubled. In 1988, the number of galleries rose pair 848. Many of these galleries have a very short duration, which has caused, and its mortality rate offset by a high birth rate, the number remains relatively stable. The Bill'art guide 2004 edition had 590 galleries of modern and contemporary art and estimated about 6000 places "open to the public with the vocation to present all forms of art." Galleries, in fact, continue to multiply while the art market, leaving the limits of the West, globalizes. At present there are thousands of galleries and art spaces that present in Shanghai, Sao Paulo, Istanbul, Abu Dhabi, thousands of exhibitions and tens of thousands of works of artists, they now are numerous.

Wave that also reveals a proliferation of biennials, exhibitions and international art fairs worldwide. After the Kassel Documenta and the Venice Biennale, we now have over a hundred biennials, which have hundreds and thousands of artists. More than 260 fairs are arranged annually around the world. Asia is already participating on an equal footing: the fair Art Stage Singapore met in 2012, 140 galleries and Hong Kong Art, twice. Which joins the parallel fairs or "off", joining younger galleries, less established and who are less known and less expensive artists. In Paris, in 2009, FIAC had 203 galleries of 210 countries, and even more 4 off fairs and 73 exhibitions. In 2010, Art Basel Miami received 2000 artists, 29 countries and 250 galleries, while a multitude of fairs and parallel events unfolded a little everywhere in the city. Fairs that are organized in network now, and that function as multinational Art: Art Basel, after Basel invested in Miami and Hong Kong, and the English Frieze fair spread to New York. And the process of expansion widened even with VIP Art Fair, the first art fair online that met in 2011, during a week, 130 international galleries presenting 7500 works and 2000 artists.

With the artistic capitalism, the small world of old-art led to the hyper-art, superabundant, proliferating and globalized, where the distinctions between art, business and luxury disappear. Here, the profusion (works and demonstrations) has nothing to do with the waste "damn part", according with Georges Bataille; it shows the new face of artistic capitalism, to adapt effectively to the global proliferation of large fortunes and collectors, investors and other speculators, created a marketing system and dissemination of art internationally.

Tuesday, December 02, 2014

Four main logic of the artistic capitalism

The general terms that specify the artistic capitalism can be reduced to four main logic:

First, the integration and generalization style order, seduction and emotion in goods for commercial consumption. Artistic capitalism is the economic system that works for the systematic aesthetization of consumer markets, objects and everyday context. Now the aesthetic paradigm is no longer foreign to industrial and commercial activities, but incorporated into these. Results from a mode of production marked by osmosis or symbiosis between the rationalization of the production process and the aesthetic work, financial spirit artistic spirit, accounting logic and logic imagine. In this configuration, the artwork is most often collective, entrusted to teams with a limited creative autonomy, framed by managers and integrated within more or less bureaucratic hierarchical structures. The fact is that it comes to creating beauty and spectacle, excitement and entertainment to conquer markets. In this sense, it is a strategy or a "charming engineering" featuring artistic capitalism.

Second, a generalization of the entrepreneurial dimension of cultural and creative industries. Now, the art worlds, are less and less "world apart" or an "economy in reverse" are governed by the general laws of the company and the market economy, with its imperatives of competition and profitability. With the artistic capitalism triumphs the management of cultural productions. Even museums should be managed as companies, implementing marketing and communication policies, increasing the number of visitors and finding new forms of revenue. In the artistic capitalism works are judged on the basis of their business and financial results, much more than by their proper aesthetic features.

Third, a new economic surface of the groups engaged in the productions provided with an aesthetic component. What was a marginal sphere has become an important sector of economic activity involving huge capital and performing colossal funds business. We are no longer in the time of small art production units but in the mastodon’s culture, transnational giants of creative industries, fashion and luxury, and the globe as a market.

Fourth: the artistic capitalism is the system in which they are destabilized the old artistic and cultural hierarchies, while interpenetrating the artistic, economic and financial spheres. Where worked heterogeneous universes are developed now hybridization processes that mix of a unique aesthetic way and industry, art and marketing, magic and business, design and cool, art and fashion, art and fun.

Tuesday, November 25, 2014

Art business

If the hypermodern age of capitalism, which is the world for nearly three decades, is the planetarization and financialisation, deregulation and outgrowth of its operations, is also the one that is marked by another kind of inflation aesthetics inflation. Not only are the megacities, objects, information, financial transactions that are involved in a hyperbolic climbing, but the very aesthetic field. Here are the worlds of art involved in turn in hyper networks, contemporary capitalism that incorporates in large scale the logical of style and dream, seduction and fun in the different sectors of the consumer universe. If there is a bubble, there is another kind of bubble whose extreme inflated do not know, however, not crisis or crash, with the notable exception of the limited field of contemporary art market, the speculative bubble, as we have seen, could explode in different moments, we live the time of the aesthetic boom sustained by hyper capitalism.

With the hypermodern times call up a new aesthetic period, a society over-aestheticized, an empire where the sun of the art never set. The imperatives of style, beauty, the show business gained such importance in consumer markets, turned so the design of objects and services forms of communication, distribution and consumption that it is difficult not to recognize the advent of a true way of aesthetic productions arriving now to maturity. We call this new state of liberal trade economy: capitalism artistic or creative capitalism, transaesthetic.

At the time of financialization of the economy and its social, ecological and human damage, the very idea of an artistic capitalism may seem radically shocking. However, this is the new world face that by blurring the boundaries and the old dichotomies, transforms the relationship of the economy with art as Warhol transformed the relationship of artistic creation with the market, defending an art business. After the modern era of radical disjunctions, we have the hypermodern age of conjunctions, deregulation and hybridizations, where the artistic capitalism is a particularly emblematic figure.

The importance of market logic in the art world is not new, but of course, at the time of globalization, is a new level that is reached, as evidenced particularly the growth of investments of art collectors and the vertiginous increases of the artworks prices. The art appears increasingly as a commodity among others, as a type of investment which is expected high returns. The romantic age of the art gave way to a world where the cost of the works is more important and mediated than the aesthetic value: now is the trade price and the international market which consecrate the artist and the artwork. We are currently in the time of the "art business" which sees the triumph of speculative operations, marketing and communication. If capitalism incorporated the aesthetic dimension, it is increasingly channeled or orchestrated by financial and trade mechanisms. Hence the feeling often shared that the more artistic capitalism reigns, there will be less art and more market will be.

Tuesday, November 18, 2014

Art for the Market

A fourth phase of aesthetization of the world is established, remodeled in essence, logical marketing and extreme individualization. The modernist culture, dominated by a subversive logic in war against the bourgeois world, follows a new universe in which the vanguards are integrated in the economic order, accepted, wanted, supported by official institutions. With the triumph of artistic capitalism, aesthetic phenomena no longer be returning to the small peripheral worlds and universes built on marginal production, marketing and communication material goods, are huge markets shaped by international economic giants.

At the time aesthetization of consumer markets, capitalism multiplies the artistic styles, trends, shows, places of art, continuously launches new fashions in all sectors and creates large-scale dream, imagination, emotions; artialize the domain of everyday life at the same time that contemporary art, for its part, is committed to a broad desdefinition process. A desdefinition art, however, involves a novel form of aesthetic experience. It is a world of superabundance or aesthetic inflation that combines our eyes: one transaesthetic world, a kind of hiperart where art infiltrates in the industries in all the interstices of trade and ordinary life. The mastery of style and emotion spent the hyper regime: this does not mean perfect and finished beauty, but generalization of aesthetic strategies for commercial purposes in all sectors of consumer industries.

A hiperart also as no longer symbolizes a cosmos or expresses transcendent narratives, it is not the language of a social class, but works as a marketing strategy, valuation distracting, seductive games ever renovated to capture the hedonistic desires of the new consumer and increase the turnover of brands. We are currently in the strategic and commercial state of the aesthetization of the world, in transaesthetic age.

Increasingly, cultural or creative industries operate in hyperbolic mode with movies with huge budgets, creative advertising campaigns, television shows diversified television broadcasting programs that blend the classical and the music-hall, architectures, sculptures of great effects, video clips delirious, gigantic amusement parks, pop concerts with "extreme" scenarios. Nothing escapes the image and fun network and everything is spectacular intersects with the commercial imperative: the artistic capitalism created a fertile transaesthetic empire where they mix design and star system, creation and entertainment, culture and show business, art and communication, and cutting edge fashion. A communication and commercial hyperculture seeing degrade the classical oppositions of the famous "society of spectacle": creative transaesthetic capitalism does not work with the separation, with the division, but with the cross, with the plot of areas and genres. The ancient kingdom of the show disappeared, was replaced by hiperspectacle which consecrates democratic culture and shopping fun. 

Commercial strategies of transaesthetic creative capitalism no longer save any sphere. Common objects are invaded by the style and the look, many of them become fashion accessories. Designers, visual artists, fashion designers are invited to redesign the look of industrial commodities and the temples of consumption. Fashion brands from the general public copy the codes of luxury. Shops, hotels, bars and restaurants invest in your images, the decor, the customization of their spaces. The heritage is rehabilitated and staged in the manner of screenplays. Urban scenarios are retouched, staged, "disneyfied" with the intent of tourism consumption. Advertising wants to be creative and fashion shows seem performances. The Architectures images flourish, value in themselves, by their attraction for its spectacular size and function as promotional vector in competitive markets for cultural tourism.

The terms used to designate the occupations and economic activities also have the mark of aesthetic ambition, gardeners have become landscapers, hairdressers hair designers, florists floral artists, cooks culinary creators, jewelers jewelers artists, tailors artistic directors, car manufacturers “car creators". Frank Gehry is celebrated everywhere as the artist architect. Even some business men are described as "visionary artists" (Steve Jobs). While economic competition are unleashed, capitalism works to build and disseminate an artistic image of his actors to artialize economic activities. The art became a mean of legitimizing brands and companies of capitalism.

The extraordinary extent of transaesthetic logic is also seen in geographical terms. We are in the time of globalized capitalism to impel a stylization of mass consumption that is no longer confined to the West. In the five continents are working creative industries, creating products with style, fashion, entertainment, culture of globalized masses.

But the process of aesthetization hypermodern overflows in much the spheres of production, consumption conquered, aspirations, ways of life, the relationship with the body, the view of the world. The taste for fashion, the performances, the music, tourism, heritage, for cosmetics, for home decor became widespread in all strata of society. The artistic capitalism spurred the realm of the aesthetic towards hyper overabundant consumption of some styles, but more broadly, in the etymological sense of the word, of the Greeks, of sensations and sensitive experiences.

Capitalism has led not so much a process of impoverishment or delinquency of aesthetic existence but the democratization of mass of a homo aestheticus of an unprecedented kind. The transaesthetic individual is reflective, eclectic and nomadic: less conformist and more demanding than in the past, appears at the same time as a consumption "junkie", obsessed with disposable expediency, the easy entertainment.  

At aesthetization of the economic world answers an anesthetization of the ideal life, an aesthetic attitude toward life. Nobody wants to live and to sacrifice for principles and outdoor goods to himself, but if you invent it yourself, create your own rules to a better life, immense, rich in emotions and shows.

Wednesday, November 12, 2014

Art for the art

The third great historical moment that organizes the relationship between art and society reflects the modern age in the West. Finding its fullness to give birth in the eighteenth and nineteenth centuries, coincides with the development of a more complex artistic sphere, more differentiated, freeing themselves of the old nobility and religious powers. While the artists gradually emancipated from the tutelage of the Church, the aristocracy, then the bourgeois order, art imposes itself as a system of high degree of autonomy in their own instances of selection and consecration (academies, salons, theaters , museums, dealers, collectors, publishers, critics, magazines), its laws, values, and principles of its own legitimacy. As the field of art becomes autonomous, the artists claim aloud a creative freedom to works that are accountable only to themselves and stop bowing to requests that come from "outside". Social emancipation of artists very concerning to the extent that it is accompanied by a dependency of a new genus, economic dependence on market forces.

But while art itself evidence its proud sovereignty in contempt for money and hatred for the bourgeois world, constitutes "commercial art" that, for profit, for the immediate and temporary success, tends to become an economic world as others to adapt to public demand and to offer products "without risk", the rapid obsolescence. It opposes these two universes of art: its aesthetic, its public, as well as their relationship with the "economy". The modern age is organized in radical opposition between art and business, culture and industry, art and fun, pure and impure, authentic and kitsch, art elite and mass culture, avant-garde and institutions. A system of two antagonistic modes of production, circulation and consecration, which developed essentially within the strict limits of the western world.

This historic social setting brings a general overturn of values, invested art with a higher mission than ever. In the late eighteenth century, Schiller says it's for aesthetic and practical education of the arts that humanity can move towards freedom, to reason and to the Well. And for the German Romantics, the beautiful, the access road to the Absolute, is set, with art, at the summit of the hierarchy of values. The modern age is the framework in which it has made an exceptional sacralization of poetry and art, only known to be able to express the most fundamental truths of life and the world. While following the Kantian criticism, philosophy should renounce the absolute revelation and science should concentrate on enunciating the laws of the phenomenal appearance of things, you assign to art the power to know and contemplate the very essence of the world. Now, art is placed above society, tracing a new secular spiritual power. Not an area designed to give consent, but it reveals the ultimate truths that elude science and philosophy: an access to the Absolute, while a new instrument of salvation. The poet enters into competition with the priest and takes its place with regard to the ultimate revelation being: the secularization of the world was the springboard of modern religious art.

It must be added, however, that the sacralization of art held by the romanticism and symbolism was then fought fiercely for several avant-garde movements such as Constructivism, Dadaism and Surrealism.

Sacralization of art that illustrates so well in the invention and development of the institution of the museums. By extracting the works of their original cultural context, while cutting its traditional and religious use by not limiting them to private use and personal collection, but offering them to the gaze of all, the museum stages its specifically aesthetic value universal and timeless; becomes practical or cultural objects to be admired aesthetic objects, contemplated by themselves, by their beauty that defies time. Place of aesthetic revelation destined to make known unique, irreplaceable, inalienable works, the museum has a responsibility to make them immortal.

While desecrates cultural objects, endows them, on the other hand, an almost religious status, the masterpieces should be isolated, protected, restored, and testimonies of the creative genius of mankind. Worship space devoted to the spiritual elevation of the democratic public, the museum is marked by rites, ceremony, for a certain sacred environment (silence, recollection, contemplation), imposes itself as a secular temple of art.
Sacralization of the museum at the same time sparked the ire of avant-garde currents denouncing the symbolic institution of excellence of ancient art to destroy: "We want to demolish museums, libraries (...). Cemeteries Museums!..." (Filippo Tommaso Marinetti's" Futurist Manifesto "in Le Figaro, 1909).

The art supposedly provides the ecstasy of the infinitely large and the infinitely beautiful, does contemplate perfection, in other words, opens the door to experience the absolute, something beyond the ordinary life. Became the place itself and the ideal way of life once reserved for religion. Nothing is higher, more precious, more sublime than art, which allows, thanks to the splendor that produces, endured the ugliness of the world and the mediocrity of existence. The aesthetics replaced religion and ethics: life is only worth by beauty, many artists argue the necessity of sacrificing material life, politics and family life to the artistic vocation: it is for them to live for art, consecrate their existence to his greatness.

To assert its autonomy modern artists rebel against the conventions, constantly invest in new objects, appropriating itself of all elements of the real for purely aesthetic purposes. Enforces the right of all styling, all transmuted into art, are mediocre, the trivial, the unworthy, the machines, the resulting collages of chance, the urban space of democratic equality was made possible affirmation of equal dignity aesthetics of all subjects, the sovereign freedom of artists to qualify as art everything you create and expose. Given the absolute sovereignty of the artist there is no reality that can’t be transformed into work and aesthetic perceptions. After Apollinaire and Marinetti, the Surrealists launch the motto "Poetry is everywhere." By breaking with all heterogeneous function of art, to assert themselves in transgression of codes and established hierarchies, modern art set in motion a dynamic of aesthetization boundless world, any object could be treated in an aesthetic point of view, be attached, absorbed in the sphere of art only by decision of the artist.

But the ambition of modern artists was far beyond the horizon purely artistic. With the avant-garde born new utopias of art, taking this as the ultimate goal being a vector of transformation of living conditions and mentalities, a political force in the service of the new society and the "new man". As opposed to art for art and symbolism, Breton declares that it is "a mistake to consider art as an end" and Tatline proclaims: "The art is dead! Live art machine "by refusing the autonomy of art, not recognizing any value to the decorative aesthetic "bourgeois", constructivists declare the glory of the technique and the primacy of the material and social values on aesthetic values. The beautiful functional should eliminate the beautiful decorative and utilitarian buildings (homes, clothing, furniture, objects ...) to substitute the ornamental luxury, synonymous with decaying waste. Art should no longer be separated from society and just an enjoyable hobby for the wealthy: the aesthetics of the engineer should be able to reset a "complete design" completeness of the everyday environment of men. No longer the beautification projects of the living, but "the machine to inhabit" (Le Corbusier), responding to the practical needs of men and at minimal cost. The modern era sees well be argued, on the one hand, the "religion" of art, on the other, a process of desaesthetization produced very particularly for architecture and urbanism, condemning artificial ornaments and beautification of the building, advocating geometric constructions completely stripped, replacing the harmonious composition of classical gardens by "green spaces".

At the same time, in various streams a new interest in so-called minor arts arises. While multiply the criticisms leveled at modern industry - accused of spreading ugliness and uniformity - the flower beautification projects of the everyday life of all classes, the desire to introduce art everywhere and in all things by diffusion of the decorative arts. From Ruskin to Art Nouveau, William Morris to the Arts & Crafts movement, and then to the Bauhaus, modernist currents abound who denounced "the egoistic conception of life as an artist" (Van de Velde), the pernicious distinction between "Great Art" and "minor arts", advocating the equal dignity of all forms of art, a useful and democratic art sustained by the rehabilitation of the applied arts, industrial arts, arts of decoration and construction. No longer want pictures and statues reserved to a high social class, but an art that invests in furniture, the wallpaper, the tapestries, the kitchenware, textiles, architectural facades, on posters. With the democratic era, the art takes on mission to save society, regenerate the quality of the home and the happiness of the people, "change the lives" of all days: the Modern Style was baptized by Giovanni Beltrami as "socialism della Belleza".

The very aesthetics of the modern age followed, so the two main roads. On the one hand, the radical aesthetics of pure art, art for art's sake, freed from all works of utilitarian purposes, having no other purpose than themselves. On the other, precisely the opposite, the project of a revolutionary art "for the people", a useful art that makes itself felt in the smallest details of everyday-oriented and well-being of most life.

Indeed, the industrial and commercial world was the primary craftsman of modern aesthetization of the world and its democratic expansion.

Tuesday, November 11, 2014

Art for the princes

Heir of classical antiquity, the exceptional importance of this period in art history, his works are a model of aesthetic perfection of the Renaissance to the present day. Are imposed the principles of harmony, balance the proportions, symmetry, a fair measure. The process of aesthetization is no longer separate of the purification of forms, the desire for a balanced and idealized beauty, synonymous with elegance and grace. Art does not imitate nature, she must sublimate it, transfiguring it by expressing the beauty ideal, harmonious perfection that is the cosmos itself.

The humanism of the Renaissance rehabilitates and expressly claimed, in the late Middle Ages comes a second stage that extends into the XVIII century. Is the premise of aesthetic modernity with the appearance of status separate from the artist craftsman, with the idea of the creative power of the artist-genius signing their works, with the unification of the arts in particular unitary concept of art in its modern sense, applying to all the fine arts, with works designed to please a lucky and educated public and not simply already communicating religious teachings and to meet the requirements of the dignitaries of the Church. The aesthetic dimension of art itself becomes important, the artist must endeavor to eliminate any imperfections and find images that are consistent with what is more beautiful, more harmonious in nature. With the gradual emancipation of artists in relation to corporations, they will benefit, through its contracts with sponsors, a margin of initiative until then unknown: the adventure of empowering the artistic and aesthetic mastery is underway.

This secular moment is contemporary of the life in the court, the appearance of fashion and elegance of their games, the treaties of "manners" but also an architecture that offers the very picture of refinement and grace, aesthetic urbanism inspiration, gardens with terraces that appear to paintings, sculptures, ponds, fountains, broad perspectives, designed to enchant and amaze the eye. Not only just commoditas, but the grace of harmonious forms, aesthetic pleasure, the venustas (Alberti), in pleasant, beautiful cities, "a pleasant appearance and pleasant stay" (Francesco di Giorgio Martini). Artists are requested and invited to the European courts to create magnificent scenery, decorate the inside of castles and planning parks. Churches wanting to seduce and attract the faithful offer, with the Baroque period, a lush theatrical spectacle with overloaded facades of sculptures, structures that disappear under the trimmings, optical effects, games of shadow and light, canopies, tabernacles, pulpits, wards, chalices, ciboria abundantly decorated, opens a whole exuberant art to create a grand spectacle, enhance the beauty and splendor of decoration ornaments. Monarchs, princes, the aristocratic classes throw themselves into large intended to make their cities and their finest residences, send build castles marked by elegance of style, build palaces, sumptuous villas, framed by huge parks full of statues and entrusted to the best architects. Remodel cities according to an aesthetic point of view, creating buildings consist of aligned harmonious facades, streets that offer great effects prospects squares beautification of cities has become a very important political goal. It must be an "urban art", a theatrical staging of city and nature, ennobling the inhabited environment and increasing the prestige, the greatness, the glory of kings and princes.

From the Renaissance, the art, the beauty, the aesthetic values acquired a value, a dignity, new social importance, which is witnessed by urban planning, the architecture, gardens, furniture, works of glass and faience in the nude painting and sculpture, the ideals of harmony and proportion. Taste for art and willingness to styling the framework of life that functions as a means of social assertiveness, way to mark the status and prestige of the larger more powerful. The aristocratic aesthetization, throughout this cycle, the intense process of aesthetization (elegance, refinement, grace of forms) in place in the upper echelons of society is not driven by social logic, political strategies of dramatization of power, the imperative of social representation and the primacy of competition for status and prestige of the constituent holistic society in which the importance of the relation of men overcomes the relation of men to things.

Wednesday, November 05, 2014

Art for the gods

For thousands of years, the arts into force in so-called primitive societies were not in fact created with an aesthetic intent and given a purely aesthetic "disinterested" and free, but with an essentially ritual purpose of consumption. In these cultures, what is intended with the style can’t be separated from, magic, sexual and religious organization of the clan. Inserted in collective systems that give them meaning, aesthetic forms of phenomena are not separate and autonomous functioning: the social and religious structure that everywhere dictates the agenda of artistic forms. Are societies in which the aesthetic conventions, social and religious organization are structurally related and undifferentiated. By translating the organization of the cosmos, to illustrate the myths expressing the tribe, clan, sex, pacing the important moments of social life, the masks, the headdresses, the paintings of the face and body, the sculptures, the dances have first a function and a ritual and religious value.

Because art has no separate existence, informs the whole of life: pray, work, exchange, fight, all these activities involve aesthetic dimensions that are anything but trivial or peripheral, since they are necessary to the success of various social and individual operations. The birth, death, rites of passage, hunting, marriage, war give way, everywhere, a artialization work done by dances, chants, fetishes, props, ritual narratives strictly differentiated according to age and sex. Artialization in ways that are not intended to be admired for their beauty, but to give practical powers: cure diseases, to oppose the negative spirits, make it rain, make alliances with the dead. Many of these ritual objects are not manufactured to be preserved: throw us off, destroyed after use and then repainted before each ceremony. Nothing of professional distinguished artists, nothing of works of art, "disinterested" or even often terms like "art", "aesthetic", "beauty". And yet, as Mauss stressed "the importance of the aesthetic phenomenon in all societies that preceded us is considerable."

Similar control over the entire collective aesthetic forms certainly not excluded, in either circumstance, some freedom of establishment or individual expressiveness. But are limited and specific phenomena, as well as aesthetic practices, these societies, are basically required by their cultural and social functions and are accompanied by extremely strict rules. Everywhere, the arts are implemented in compliance with draconian rules and fidelity to tradition. They don’t intent to innovate and invent new codes, but obey the canons received from ancestors or gods. It is a ritual artialization, traditional, religious, which marked the longest period in the history of the styles: a pre-reflective artialization without essentially artistic values, no specific and autonomous aesthetic intent system.

Artistic capitalism

Artistic or creative capitalism transestetic, which is characterized by the growing importance of sensitivity and design process for a systematic work of stylization of goods and commercial places, the widespread integration of art, the look and affect in the consumer markets universe, create a chaotic economic world landscape stylizing the universe everyday.

With the artistic capitalism combines a novel form of economy, society and art in history. There is no society that does not involve, in one way or another, work in styling or "artialization" of the world, what distinguishes a time or a society, to make the humanization and socialization of the senses and tastes.

This anthropological and trans-historical dimension of aesthetic activity always appears in different forms and extremely social structures. To highlight what is specific stylization of the hypermodern world, Gilles Lipovetsky and Jean Serroy, adopted a panoramic view, the view over the long term, outlining the extreme constitutive logic of the great historic models of the relationship between art and the social. In this regard, we highlight four great "pure" models who organized, throughout history, the timeless styling process in the world: the ritual artialization, the aristocratic aestheticization, the modern world and the aestheticization transestétic age.

Thursday, October 30, 2014

The Aesthetic Capitalism in the Age of Globalization

Acknowledge the contribution of the artistic capitalism as well as its failures is the goal of this book of Gilles Lipovetsky and Jean Serroy.

The purpose of this book is theoretical, opens, however, a large approximation of the empirical facts related to the aesthetic market space. Instead of arresting a purely conceptual or theoretical reading-engage deliberately to support the thesis advanced through descriptive analysis of multiple areas of hypermodern aesthetic. Insofar as the order of the artistic capitalism infiltrates in all sectors related to consumer world, it would be necessary to show the coherence of the system and its operation focusing as close as possible the diversity of creative and imaginative, and organizational realities individual. Hence the intersections between macroscopic and microscopic, the "abstract" and "concrete", theoretical and descriptive, but also between long-term and contemporary.

Favoring only the profitability and the kingdom of money, capitalism emerges as a juggernaut that respects no tradition or worship any higher principle, whether ethical, cultural or ecological. System driven by an imperative of profit, has no other aim than itself, the liberal economy presents a nihilistic aspect whose consequences are not only unemployment and job insecurity, social inequality and human dramas, but also the disappearance of harmonious life forms, the fading charm and pleasure of social life. Wealth of the world, impoverished existence; triumph of capital, liquidation of manners; great power of finance, proletarianization of lifestyles.

Capitalism thus appears as a system incompatible with a worthy aesthetic life of that name, with the harmony, with beauty, with a good life.

Thursday, January 16, 2014

Modern and Contemporary Art Auctions

As this art market began to grow and be attractive in several auction houses emerged in Portugal and associated themselves with this aspect of interest in the contemporary art market, mainly from 2000.

Auctions are essentially a framework of economic reference on the state of the art market.  Its activity is public, open and publicized, serve as guides to assess the quote of the artist.

Mainly specialized in the commercialization of art, ancient or modern, the auction houses have been ensuring their way into contemporary art in recent years.

The Palácio do Correio Velho Auction House was established in 1990. Currently beyond the Palácio do Correio Velho and Cabral Moncada, in Lisbon, World Legend (Leiria & Nascimento), S. Domingos and Marques dos Santos, in Oporto, are some which operate in this market.

Pedro Alvim states that in 1996, when Cabral Moncada Auctions was created, it was a very residual company. I came here in '99 and was a firm as at the beginning, very small. In fact the modern and contemporary art was completely residual. The first auction of modern and contemporary art was held in 2007 and from there make an annual auction only to the market for modern and contemporary art.

The auction houses that have traditionally existed in the Portuguese market until 2000-2002 were devoted to the antiques market.

Fernando Santos believes that currently the auction houses and galleries collide, there are a lot of offer, there are those who sell low prices by necessity, but some use auction houses for “strategy games “. Built up some artists like that, but it happens more in the international market.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Wednesday, January 15, 2014

Modern and Contemporary Art Museums

Manuel de Brito says that the 50s were a period of Franciscan poverty was linked to politics, first directors of the museums were academics, reactionary, had a Prime Minister who knew nothing of art and reposed confidence in a guy named Eduardo Malta, who was director of what is now the Chiado Museum, was the Museum of Contemporary Art. Anyone enter in the museum that was not academic. Making a living with art only on demand, particularly sculptors, and orders were made by the Government, by António Ferro, was a sensitive and responsible for advertising.

The Modern Art Centre of the Calouste Gulbenkian Foundation was inaugurated in 1983. It was the time when the work of modern art had almost no acceptance in Portugal.

Joe Berardo concerns regarding museums that artists benchmarking is not always the right one and is subject to the taste of the director of the museum that hold the position at the time.

Julião Sarmento highlights the lack of a contemporary art museum in Portugal, and the fact that this role be filled by private institutions such as the Gulbenkian or Serralves. "There are no museums; Portugal is the only European country that does not have a museum of contemporary art of the state. The Chiado Museum is a museum of the XIX century, is a box the size of a walnut shell."

Fernando Santos says that Serralves is losing power at this time. Had a very important director, João Fernandes. Tired, because things did not work well and there is no money for programming people end up discouraging and tiring.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Tuesday, January 14, 2014

Modern and Contemporary Art Galleries

The scarcity of gallery market in Portugal, the first gallery appeared in 1954, Jaime Isidoro (painter) with Alvarez Gallery in Oporto, although he had closed several years, and in 1964 the 111 Gallery Manuel de Brito, in Lisbon.

As regards Jaime Isidoro " There was no market, the exhibits were up, put up the paintings and retired without selling out ," Manuel de Brito relates the same decertified landscape of our art market " At that time it was unthinkable anyone have a project commercial gallery. " Manuel de Brito considers that the period was the biggest crisis that followed the April 25, 1974, because virtually closed almost all the galleries.

Manuel de Brito says that the first two exhibitions that made Paula Rego have not sold a single framework. Begins to have a more direct interaction with artists in a college bookstore that had side of the Faculty of Sciences at Lisbon, in an area of ​​3x4 meters, after stores were wandering around and I was getting these spaces. Never crossed my mind to be a collector, had some friends who gave me some things, but things that they did not confer great value, not me, because there were no numbers to overwhelm the idea that it was a value. I do not know why the artists were appearing: "why do not you make here one gallery? Had your friends and such,” " but this does not give me anything and my former employer partner said: but this gives something of the art? ", “Do not give anything" but I like to do things that not everyone has the outset a materialist interest. "

José Augusto França draws attention to the fact that the "Hundred Club" - exclusive group of one hundred members, passionate about collecting art contributing hundred escudos to a common fund, which would be applied in the purchase of works by Portuguese artists living through a draw - moved higher amounts of money than the National Museum of Contemporary Art. Although the activity has ceased in 1968, after two years of the club, Manuel Brito, treasurer during activity time that core would channel some of those contacts to his customer portfolio.

Regarding the evolution of gallery scene in the 70s records the inauguration of galleries, having lived throughout the first phase of its existence a period of strong political and social turmoil and virtually no art market, as is said by Alexandre Melo.

The gallery owners Fernando Santos and Pedro Oliveira, Oporto, and Cristina Guerra, Lisbon, arise in the art scene 20 years later, covering the effervescent 80 and subsequent years.

Fenando Santos says that our market is small, with prominence of Lisbon, which is situated the most of institutions, thus making it difficult to manage a gallery in Lisbon and Porto. Started is activity in the 80, invited by Gallery Nasoni in Oporto, with a project that has brought a dynamic to the art market. The Nasoni comes at a prosperous time, was well positioned had good relations with the media business. Became a reference of the art market in Portugal.  At this time the art market grew: There are more and more artists and more visibility. There are more galleries. There are art fairs. There are more private collections. The internet and social networks that did not exist 30 years ago, revolutionized a drastically the diffusion of information and communication The Portuguese art market has opened up to the world.

Juliâo Sarmento stresses that what matters for the internationalization today is the power of large galleries, major collectors, art consultants, and international curators, thus ruling out the possibility of any Portuguese gallery a Portuguese artist get put on top of that because internationalization Portugal has no power to do so.

Hargreaves, Manuela – Colecionismo e Mercado de Arte em Portugal, O Território e o Mapa. Porto: Edições Afrontamento, 2013.

Friday, February 25, 2011

Constructivism art

Constructivism was a movement that was active from 1913 to the 1940’s. It was a movement created by the Russian avant-garde, but quickly spread to the rest of the continent. Constructivist art is committed to complete abstraction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional. Objective forms carrying universal meaning were far more suitable to the movement than subjective or individualistic forms. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements. New media was often used in the creation of works, which helped to create a style of art that was orderly. An art of order was desirable at the time because it was just after I World War that the movement arose, which suggested a need for understanding, unity and peace. Famous artists of the Constructivist movement include Alexander Rodchenko, Liubov Popova, Vladimir Tatlin, Olga Rozanova, Alexandra Exter, Naum Gabo, El Lissitzky, Antoine Pevsner, Kasimir Malevich and Alexander Vesnin.

Constructivism, Russian Konstruktivizm, Russian artistic and architectural movement that was first influenced by Cubism and Futurism and is generally considered to have been initiated in 1913 with the “painting reliefs”—abstract geometric constructions—of Vladimir Tatlin. The expatriate Russian sculptors Antoine Pevsner and Naum Gabo joined Tatlin and his followers in Moscow, and upon publication of their jointly written Realist Manifesto in 1920 they became the spokesmen of the movement. It is from the manifesto that the name Constructivism was derived; one of the directives that it contained was “to construct” art. Because of their admiration for machines and technology.

Tatlin's most famous piece remains his "Monument to the Third International" (1919-20, Moscow), a 22-ft-high (6.7-m) iron frame on which rested a revolving cylinder, cube, and cone, all made of glass which was originally designed for massive scale. After the 1917 Revolution, Tatlin (considered the father of Russian Constructivism) worked for the new Soviet Education Commissariate which used artists and art to educate the public. During this period, he developed an officially authorized art form which utilized 'real materials in real space'. His project for a Monument of the Third International marked his first foray into architecture and became a symbol for Russian avant-garde architecture and International Modernism.

The constructivists believed art should directly reflect the modern industrial world. Tatlin was crucially influenced by Picasso's Cubist constructions (Construction 1914) which he saw in Picasso's studio in Paris in 1913. These were three-dimensional still lifes made of scrap materials. Tatlin began to make his own but they were completely abstract and made of industrial materials. By 1921 Russian artists who followed Tatlin's ideas were calling themselves Constructivists and in 1923 a manifesto was published in their magazine Lef: 'The material formation of the object is to be substituted for its aesthetic combination. The object is to be treated as a whole and thus will be of no discernible 'style' but simply a product of an industrial order like a car, an aeroplane and such like. Constructivism is a purely technical mastery and organization of materials.' Constructivism was suppressed in Russia in the 1920s but was brought to the West by Naum Gabo and his brother Antoine Pevsner and has been a major influence on modern sculpture.

Other painters, sculptors, and photographers working during this time were usually involved with industrial materials such as glass, steel, and plastic in clearly defined arrangements. Because of their admiration for machines and technology, functionalism, and modern mediums, members were also called artist-engineers.

Constructivism rejected the idea of autonomous art in favor of art as a practice directed towards social purposes. Constructivism had a great deal of effect on developments in the art of the Weimar Republic and elsewhere, before being replaced by Socialist Realism. Its motifs have sporadically recurred in other art movements since.

The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Alexei Gan used the word as the title of his book Constructivism, which was printed in 1922. Constructivism was a post-World War I outgrowth of Russian Futurism, and particularly of the 'corner-counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be coined by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular approach to their work, while its geometric abstraction owed something to the Suprematism of Kasimir Malevich. The teaching basis for the new movement was laid by The Commissariat of Enlightenment (or Narkompros) the Bolshevik government's cultural and educational ministry headed by Anatoliy Vasilievich Lunacharsky who suppressed the old Petrograd Academy of Fine Arts and the Moscow School of Painting, Sculpture and Architecture in 1918. IZO, the Commissariat's artistic bureau was run during the Russian Civil War mainly by Futurists, who published the journal Art of the Commune. The focus for Constructivism in Moscow was VKhUTEMAS, the school for art and design established in 1919. Gabo later stated that teaching at the school was focused more on political and ideological discussion than art-making. Despite this, Gabo himself designed a radio transmitter in 1920 (and would submit a design to the Palace of the Soviets competition in 1930).

Constructivism as theory and practice derived itself from a series of debates at INKhUK (Institute of Artistic Culture) in Moscow, from 1920–22. After deposing its first chairman, Wassily Kandinsky for his 'mysticism', The First Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Alexei Gan, Boris Arvatov and Osip Brik) would arrive at a definition of Constructivism as the combination of faktura: the particular material properties of the object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a first step to participation in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg Brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.

Art in the service of the Revolution

As much as involving itself in designs for industry, the Constructivists worked on public festivals and street designs for the post-October revolution Bolshevik government. Perhaps the most famous of these was in Vitebsk, where Malevich's UNOVIS Group painted propaganda plaques and buildings (the best known being El Lissitzky's poster Beat the Whites with the Red Wedge (1919)). Inspired by Vladimir Mayakovsky's declaration 'the streets our brushes, the squares our palettes', artists and designers participated in public life throughout the Civil War. A striking instance was the proposed festival for the Comintern congress in 1921 by Alexander Vesnin and Liubov Popova, which resembled the constructions of the OBMOKhU exhibition as well as their work for the theatre. There was a great deal of overlap in this period between Constructivism and Proletkult, the ideas of which concerning the need to create an entirely new culture struck a chord with the Constructivists. In addition some Constructivists were heavily involved in the 'ROSTA Windows', a Bolshevik public information campaign of around 1920. Some of the most famous of these were by the poet-painter Vladimir Mayakovsky and Vladimir Lebedev.

As a part of the early Soviet youth movement, the constructivists took an artistic outlook aimed to encompass cognitive, material activity, and the whole of spirituality of mankind. The artists tried to create works that would take the viewer out of the traditional setting and make them an active viewer of the artwork. In this it had similarities with the Russian Formalists' theory of 'making strange', and accordingly their leading theorist Viktor Shklovsky worked closely with the Constructivists, as did other formalists like Osip Brik. These theories were tested in the theatre, particularly in the work of Vsevolod Meyerhold, who had set up what he called 'October in the theatre'. Meyerhold developed a 'biomechanical' acting style, which was influenced both by the circus and by the 'scientific management' theories of Frederick Winslow Taylor. Meanwhile the stage sets by the likes of Vesnin, Popova and Stepanova tested out Constructivist spatial ideas in a public form. A more populist version of this was developed by Alexander Tairov, with stage sets by Aleksandra Ekster and the Stenberg Brothers. These ideas would go on to influence German directors like Bertolt Brecht and Erwin Piscator, as well as the early Soviet cinema.

Tatlin, 'Construction Art' and Productivism

The canonical work of Constructivism was Vladimir Tatlin's proposal for the Monument to the Third International (1919) which combined a machine aesthetic with dynamic components celebrating technology such as searchlights and projection screens. Gabo publicly criticized Tatlin's design saying Either create functional houses and bridges or create pure art, not both. This had already led to a major split in the Moscow group in 1920 when Gabo and Pevsner's Realistic Manifesto asserted a spiritual core for the movement. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin and Rodchenko. Tatlin's work was immediately hailed by artists in Germany as a revolution in art: a 1920 photo shows George Grosz and John Heartfield holding a placard saying 'Art is Dead – Long Live Tatlin's Machine Art', while the designs for the tower were published in Bruno Taut's magazine Fruhlicht.

Tatlin's tower started a period of exchange of ideas between Moscow and Berlin, something reinforced by El Lissitzky and Ilya Ehrenburg's Soviet-German magazine Veshch-Gegenstand-Objet which spread the idea of 'Construction art', as did the Constructivist exhibits at the 1922 Russische Ausstellung in Berlin, organized by Lissitzky. A 'Constructivist international' was formed, which met with Dadaists and De Stijl artists in Germany in 1922. Participants in this short-lived international included Lissitzky, Hans Richter, and Laszlo Moholy-Nagy. However the idea of 'art' was becoming anathema to the Russian Constructivists: the INKhUK debates of 1920–22 had culminated in the theory of Productivism propounded by Osip Brik and others, which demanded direct participation in industry and the end of easel painting. Tatlin was one of the first to answer this and attempt to transfer his talents to industrial production, with his designs for an economical stove, for workers' overalls and for furniture. The Utopian element in Constructivism was maintained by his 'letatlin', a flying machine which he worked on until the 1930s.

Constructivism and Consumerism

In 1921, a New Economic Policy was set in place in the Soviet Union, which reintroduced a limited state capitalism into the Soviet economy. Rodchenko, Stepanova, and others made advertising for the co-operatives that were now in competition with commercial businesses. The poet-artist Vladimir Mayakovsky and Rodchenko worked together and called themselves "advertising constructors". Together they designed eye-catching images featuring bright colours, geometric shapes, and bold lettering. The lettering of most of these designs was intended to create a reaction, and function on emotional and substantive levels – most were designed for the state-run department store Mosselprom in Moscow, for pacifiers, cooking oil, beer and other quotidian products, with Mayakovsky claiming that his 'nowhere else but Mosselprom' verse was one of the best he ever wrote.

In addition, several artists tried to work in clothes design with varying levels of success: Varvara Stepanova designed dresses with bright, geometric patterns that were mass-produced, although workers' overalls by Tatlin and Rodchenko never achieved this and remained prototypes. The painter and designer Lyubov Popova designed a kind of Constructivist flapper dress before her early death in 1924, the plans for which were published in the journal LEF. In these works Constructivists showed a willingness to involve themselves in fashion and the mass market, which they tried to balance with their Communist beliefs.

Thursday, February 24, 2011

Concrete art

Concrete art and design or concretism is an abstractionist movement that evolved in the 1930s out of the work of De Stijl, the futurists and Kandinsky around the Swiss painter Max Bill. The term "concrete art" was first introduced by Theo van Doesburg in his "Manifesto of Concrete Art" (1930) published in the first and only issue of magazine Art Concrete:

1. Art is universal;

2. The work of art must be entirely conceived and shaped by the spirit execution. It does not receive data from the formal nature, or sensuality, or the sentimentality. We want to exclude lyricism, dramatism, symbolism, etc;

3. The canvas is to be built entirely with purely visual elements, his plans and colors. A pictorial element has no meaning other than "himself" in the canvas the consequence is "himself";

4. The construction of the canvas, also controllable visually;

5. The technique should be mechanics, anti-impressionist;

6. Effort to absolute clarity.

In his understanding, this form of abstractionism must be free of any symbolical association with reality, arguing that lines and colors are concrete by themselves.

Ever since the cave age, man has been painting still lives, landscapes, and nudes. These artists do not wish to copy nature. They do not wish to reproduce but to produce. But then nothing is less abstract than Abstract art. This is why Van Doesburg and Kandinsky have suggested that Abstract art should called Concrete art.

Artists should not sign their works of Concrete art. These paintings, sculptures, objects should remain anonymous and form part of nature’s great workshop as leaves do, and clouds, animals, men. Yes, once again become part of nature. These artists should work communally as did the artists of the Middle Age.

The Swiss artist Max Bill later became the flag bearer for Concrete art organizing the first international exhibition in Basle in 1944. He stated that the aim of Concrete art is to create 'in a visible and tangible form things which did not previously exist to represent abstract thoughts in a sensuous and tangible form'. In practice Concrete art is very close to Constructivism and there is a museum of Constructive and Concrete art in Zurich, Switzerland.

The movement came to fruition in Northern Italy and France in the 1940s and 1950's through the work of the groups Movement of art concrete (MAC) and Space.

Friday, January 21, 2011

Abstraction in Poland

In neighboring Poland, where we saw waving a current avant-garde, expressionist and "formists" constructivism led to the creation of the group "Blok" (1924-26), inspired by M. Szezuka that evolved from Suprematism Constructivism commitment to communism. The group's magazine Praesens "(which, with its" Unism "resume line malevitchean purified), would, in 1929, the group "RA" ("revolutionary artists"), with H. Stazewski and the sculptor K. Kobro, a new way by profit, while H. Berlewi was engaging in an online "Mecano-making, " the study of optical vibrations. In all this turmoil has resulted, in 1931, creating the first museum of abstract art and avant-garde in Europe, in Lodz, which might last.

Abstraction in U.R.S.S.

These were years of ferment within the framework of the Soviet revolution in plant heritage by baking a politicized before, we observe - as we have seen its impact on architecture. The Department of Plastic Arts of the People's Commissariat for Education, IZO, Lucacharsky excited by the workshops free Svonsas, which replaced the Academy of St Petersburg in 1918 and professed where Malevich, as in the UNOVIS Vitebok, Institutes of Culture Arts, here in Moscow, the Inkhuk where Kandinsky taught in 1920, passing away To the "Bauhaus" since losing its tendency, and Suprematism and Constructivism where doctrines were necessary, the Vikhutein, Technical Institute of Moscow, dominated by Tatlin that there, rather monotonously made many disciples, among them the brothers G. and V. Stenberg and K. Medunetsky - were so many bodies active propaganda of an art, or an "agit-prop" in the theater, with its sets, played an important role, as the poster and the most graphic arts, abstract formulations which would otherwise also took to the streets in festive decorations, or in trains (and boats) that advertising across the vast country. In 1922, an exhibition of Soviet avant-garde in Berlin, was to some extent, the swan song of such action.

In reality, the USSR, beyond its immediate turmoil, the abstraction was not more than an accident, between the naturalist tradition more or less a modernized neoplasticism popular, nationalist, and his recovery as early as 1920, scholars adhering to the new political , which eventually annihilate, soon, the revolutionary vanguard.

Vitatline Vladimir (1885-1953)

In 1919, Vitatline (1885-1953) declared that Suprematism was "the sum of all the mistakes of the past", it expresses its opposition to personal and ideological Malevich. Disciple Larianov, marked by a structured and whose colorful expressionism was not unconnected with the interest in traditional icons. Tatlin had an adventurous youth who took him to Paris in 1913, there admiring the buildings raised by Picasso, based on their own "counter-reliefs" which, with experiences of materials and applications in the corners of rooms, modifying its spatiality, created the constructivist movement in 1927, enriched by a new flying machine invented organic, "Latatlin" - but especially in 1919-20, the project of the monument to the Third International, we already know helical construction of a fleeting expression "Komfuturism. Artistic animator, teacher, victorious defender of the principle of "production art" against the "art lab" (which represented Suprematism) a "productivist" politicized, proclaimed in 1921, with rejection of easel painting, and that led to his craft, poster, the theatrical decor already practiced in youth (and who was prominent field of action of his movement, thanks primarily to the enactments (V. Mayerhold) - none of this prevented the misfortune of Tatlin, compared to the realism in the official 30 years. The his part, Mr Rodechenko (1881-1956), coming more or less of futurism, the author of geometric designs consisting of animated games curves made in step, methodically (1915-16), and a painting "Black on black," presented polemically against Malevich in 1919, he practiced construction surprises, mobile and linear metal with which participated in 1917, with Tatlin and the disciple of G. Yakulov at the famous Coffee Pitoresque decor, lively artistic center of Moscow, in these years fermentation. Reduced, like Tatlin, applied arts and design, "he devoted himself to photomontage and typesetting. In these areas stood out El Lissitzky (1890 - 1941), engineer and architect, for that matter, a disciple of Malevich, who went from Suprematism to constructivism, the "History of two squares" (1922) and their "prouns”, geometric constructions in space, originally painted. In large photomontage, made the decoration of the Soviet pavilion at the International Exhibition of Printing, Cologne, 1930 - and so too, as in 1920-24, the famous “Lenin Tribune”, we have seen, represented the dictator of an imaginary construction of the high iron. In 1926, El Lissitzky wrote the interior architecture of the "abstract case" to the International Exhibition in Dresden, which he considered his major work. Schwittors friend and collaborator and Arp, and V. Doesbourg, related to the "Bauhaus", as we know, it was for you to connect more regularly between the Russian and the current world West over the years 20.

Kazimir Malevitch (1878-1935)

K. Malevich (1878-1935), from Impressionism and Symbolism and Art Nouveau, Cezanne, Matisse and Derain's, national painter of rustic scenes, composed in 1911-12 figures in a geometric cylindrical, cube-futurist ("Grinder” , 1912-13, Yale University, USA), influenced by Léger, to the ends of abstractization of geometric bodies of revolution, painted with careful modeling in 1912-13, the year he adopted a cubist imagery to a syntactic "transnational "(" Zaorum ", as we saw), or" alogic, compositions, not without humor confused with the spirit "given" ("An Englishman in Moscow, 1913-14, Amsterdam," Partial Eclipse with Mona Lisa " 1914, col. part. Leningrad). But in 1915, Malevich said he made the first works "suprematists," based on the elementary forms of square, circle and cross vertical-horizontal rectangles. The famous "square black on white" (Tretyakov Museum, Moscow), shown in 1915, is emblematic of this phase, possibly marked the work of decorating the Futurist opera "Victory Over the Sun" (1913), with music by M. Matinchine, translator of "Du Cubisme" of Gleizer - which would, in 1917, the painter of "realism in space," in large colored bands, interested in psycho-physiological research on the art visible.

The "Suprematism" as a supreme aesthetic state "monumental", "not objective" deduction based on a conceptual level, is rooted in the philosophical thought of the post-Kantian metaphysics P. D. Ouspenki (“Tercium Organum”, 1911) who, referring to a" higher form of existence" and announcing a "language of the future”, regardless of the real world, exercise (perhaps through Matinchine) great influence on the painter, also interested in "the fourth dimension" (Ouspenki, 1908, on "space-time continuum" of mathematics of Minkowski, 1908) - and still fascinated by the symbolist rhetoric inherent in that thought. "All they're ready to lose all hold new findings (Ouspenki, 1913) applies to the diligence of whom Malevich" Black Square "was" a flat-surface alive, now even born "(" From Cubism and Futurism and Suprematism, a new pictorial realism, 1916); test would be resumed in 1920, as we know, in From Cezanne to Suprematism, the first semantic unit building free pair of systems "flat surfaces" in space, unconditional freedom of movement (cf. A. B. Nakov, 1975) - "zero," which since 1915 has defined its pictorial experience, was a full, equal to the infinite and absolute, the "harmony, rhythm and beauty" (Mirror Suprematist, 1923 ), not the end of a speech earlier aesthetic, a kind of nillyism (cf. D. Valle, 1967). It always defended Malevich, a work that has consistently been to the "square white on white" (1918, MAM, New York), after three or four years of multiple compositions that have the volume, as those architectural possible, the "planitis ". Numerous texts by Die Welt Gegentandslose ("The world has no purpose," published by the Bauhaus, 1927), proclaim or defend a polemical aesthetic and philosophical doctrine that the painter was able to teach in Vitebsk, against the wishes of Chagall, and won, the group UNOVIS, which created in 1920-21, and within two years, the Institute of Artistic Culture in Leningrad - but that already attacked in 1919 by the Constructivists was supposed by idealism, contrary to official line aesthetic and hardly tolerated, as in 1927. Since 1930, the year he was arrested by secret police, conducted a Malevich painting figurative landscapes and portraits that are not without bitter irony - and, in 1935, was buried in a coffin suprematist that he had intended, causing painted on a white background a circle and a black square.