The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this essay, printed in the brochure for the exhibition Efemérides: Lothar Charoux, Gabriela Wilder declares Lothar Charoux the “master of the line,” exploring the ways in which the artist created “vibrant surfaces of movement and color” that transmit sensations. Charoux’s compositions, which use op-art techniques and the psychology of perception, are open-ended and allow their beholder’s eye to complete the work. Wilder gives a brief biography of the artist, whose stylistic evolution encompassed “currents of expressionism, impressionism, purism and lyrical abstractionism” before he joined the Grupo Ruptura in 1952, and transitioned toward the “purely cerebral creations” of concretism. In the “pulsating effects” created by his “sensitive” use of line, “the virtual and the real are confused.”
Born in Austria, Lothar Charoux (1912–87) arrived in São Paulo in 1928. Having studied with Waldemar da Costa and at the Liceu de Artes e Oficios, his work, as Wilder mentions, incorporated several styles, subjects, and genres. With his friends Waldemar Cordeiro, Geraldo de Barros, and Luiz Sacilotto, Charoux signed the Ruptura Manifesto in 1952. He exhibited works in most of the exhibitions of concrete art in that decade, including the first nine São Paulo biennials and at the Galeria de Arte das Folhas in 1958 [see in the ICAA digital archive “Concretistas na Galeria das ‘folhas’” (doc. no. 1232732)]. Along with Sacilotto and Fiaminghi, Charoux co-founded the Associação de Artes Visuais NT-Novas Tendências. The exhibition accompanying this document took place at the MAC-USP in São Paulo from March-April, 1992, part of a series that also included a focus on Judith Lauand [see “Efemerides: Judith Lauand” (doc. no. 1316781)]. The essay was written by Gabriela S. Wilder, the Director of the museum’s Scientific Division.
[For more on Lothar Charoux, see the following articlews in the ICAA digital archive: by Lothar Charoux “Ruptura” (doc. no. 771349) and by Charoux, Cordeiro, de Barros, Féjer, Haar, Sacilotto, and Wladyslaw “Ruptura” (doc. no. 1232213).
For complementary reading on the Grupo Ruptura, see by Ferreira Gullar “I - O Grupo de São Paulo: I Exposição Nacional de Arte Concreta” (doc. no. 1087166); and by Sérgio Milliet “Duas exposições” (doc. no. 1085432)].