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  • ICAA Record ID
    1085817
    TITLE
    Uma experiência de integração / Lygia Clark
    IN
    Brasil - Arquitetura Contemporânea (Rio de Janeiro, Brasil). -- no. 8 (1956)
    DESCRIPTION
    p. 45 : ill.
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    CLARK, Lygia. Um experiência de integração. Brasil - Arquitetura Contemporânea, Rio de Janeiro, n.8, p.45, 1956.
    NAME DESCRIPTORS
    GEOGRAPHIC DESCRIPTORS
Editorial Categories [?]
Synopsis

Artist Lygia Clark proposes that architects and artists operate as a team in order to come up with innovative and authentic approaches to issues facing the visual arts. She supports the union of “art and life” to produce a harmonious environment to be inhabited by man. Because it is devoid of expressiveness, Concrete art can look to architectural modules to formulate, in conjunction with architects, an environment that is “expressive in and of itself.” On the basis of a module proposed by an architect, an artist can compose a rhythmic harmony that forms an integral part of the environment. Clark goes on to explain her notion of “organic lines” based on the functional lines that arise from splicing and joining materials to form a surface. This process gave rise to the series she calls “modulated surfaces.” Clark presents models that illustrate her text as the starting point for the integration of the arts, a concept advocated in Brazil by critic Mário Pedrosa. This notion involved painters, sculptors, architects, and even psychologists, who would collaborate on the study of the relationships between individual and chromatic harmonies. Clark advocates the application of this line of thought to pre-fabricated houses and to set design. In her view, this formulation would lead to a collectivization of art where architects and artists work together from the very inception of a project.  

Leia esta sinopse em português
Synopsis

A artista Lygia Clark propõe um trabalho de equipe entre o artista plástico e o arquiteto, em que estes possam, juntos, encontrar soluções plásticas novas e autênticas. Declara que acredita em uma fusão de "arte e vida", na qual o homem viva em um ambiente harmonioso. A arte concreta, prescindindo de um caráter expressional, pode partir do módulo arquitetônico para propor, por um trabalho de equipe com o arquiteto, um ambiente "por si mesmo expressional". A partir do módulo proposto pelo arquiteto, o artista irá compor uma harmonia de ritmos que integre o ambiente. Explica o conceito de suas "linhas orgânicas", que partem das linhas funcionais das emendas e articulações dos materiais que compõem uma superfície, resultando em "superfícies moduladas". Apresenta algumas maquetes, que ilustram o texto, como o início de uma experiência de integração das artes, que envolveria pintores, escultores, arquitetos e psicólogos, estes últimos colaborando no estudo de relações do indivíduo com harmonias cromáticas. Pensa em uma aplicação prática em casas pré-fabricadas e cenários para teatro, o que resultaria em uma coletivização da arte em que artistas e arquitetos estariam integrados desde o início do projeto.

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Annotations

This text demonstrates the commitment of Concrete artists from the fifties (including those who, like Lygia Clark, would later call themselves “Neo-Concrete” artists) to the idea of the “integration of the arts.” Those artists insisted that that idea could potentially bring about a qualitative leap in art on the basis of artistic experience, which would later take the shape of artistic environments. 

 

Brazilian artist Lygia Clark (1920–88) was active from the late forties through the eighties. In the fifties, after briefly producing figurative work on canvas, she joined a group of Rio de Janeiro-based artists initially known as Grupo Frente. Under the leadership of Ivan Serpa, that group looked to São Paulo as it became part of the Brazilian Concrete movement. Art critic Ferreira Gullar’s text “I Exposição Nacional de Arte Concreta: 2 ? O grupo do Rio” [doc. no. 1090217] describes and comments on work by Clark and others in the exhibition held in 1956. In the late fifties, Clark became part of the Neo-Concrete movement, which radically questioned the Concrete movement. That later movement began in 1959 with the launching of the “Manifesto Neoconcreto” written by Ferreira Gullar with artists Franz Weissmann, Amílcar de Castro, Lygia Pape, Reynaldo Jardim (who worked in theater), and Theon Spanudis (a poet), all of whom participated in the aforementioned I Exposição de Arte Neoconcreta (1959) in Rio.

 

Ferreira Gullar also considers the course of Clark’s work in the text, written in 1960, entitled “Do quadro ao não objeto” [doc. no. 1091272]. For a critical analysis of Clark’s international career through the eighties, see “Lygia Clark: In Search of the Body” [doc. no. 1232526], written in 1994 by English curator and critic Guy Brett, who took an active interest in her production from the beginning.  

Leia este comentário crítico em português
Annotations

Esse texto mostra como os artistas concretos estavam engajados na questão da integraçao das artes, e de como essa proposta poderia construir uma nova qualidade de ambiente a partir da experimentação artística, o que resultaria posteriormente na idéia de arte ambiental.

Ver também:

BENTO, Antonio.Lygia Clark e a integração da pintura na arquitetura. Módulo, n.5.

 

g- Arquitetura e artes plásticas: integração das artes

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Researcher
Equipe Brasil: Marco Andrade
Team
FAPESP, Sao Paulo, Brazil
Credit
Associação Cultural O Mundo de Lygia Clark.