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.
Luiz Camillo Osorio provides “links between the technological direction” pursued by Abraham Palatnik between 1949 and 1951 and his Chromo-kinetic discoveries in relation to Concretism. With Palatnik’s light and color devices, also referred to as Chromo-kinetics, he used “technology to transform creative processes and methods of delivery.” Osorio believes there was something specific in the links of Chromo-kinetics, in regards to the context of Concretism in Rio de Janeiro. He proposes that at the time of Concretism in Rio de Janeiro, there was “already a poetics in place whose elements reverberate later in the Neo-Concrete rupture itself.”
In this essay, Luiz Camillo Osorio “examines the relationship between the Aparelhos cincecromáticos [Chomo-kinetic Sets] of artist Abraham Palatnik and the guiding ideas of Concrete art in Brazil.” He proposes that although there are aesthetic and conceptual differences regarding Palatnik’s works, in the realm of Concretist premises, Osorio believes that Chromo-kinetics would not exist if it were not for the “theoretical discussions and cultural climate within which the first Rio de Janeiro Concretist nucleus was formed.” He includes the intellectual circle in which Palatnik participated, which consisted of artist Almir Mavigner, art critic Mário Pedrosa, and master teacher Ivan Serpa, “who provided theory and practice, respectively.”
Osorio emphasizes the “extreme closeness” of the artists’ group that met at the psychiatric Hospital do Engenho de Dentro between 1947 and 1951. He then explains the importance of introduction of American artist Alexander Calder’s work to the Rio de Janeiro scene, as well as the three essays published between 1944 and 1948 regarding Calder, written by Brazilian art critic Mário Pedrosa. Osario believes it was these two happenings that “fertilized the poetical territory from which Chromo-kinetics emerged, thus demonstrating their technological uniqueness.” He explains that the Chromo-kinetic devices were conceived within an open dialogue “with the poetical preoccupations shared by the original group formed around Pedrosa.”
This essay is fundamental in understanding the formation of Chromo-kinetics within the broader context of Concretism. [See in ICAA digital archive, the texts: “Art and Design: Discovery and Attitude” by Alexandre Wollner (doc. no. 1324618), “Brazilian Concretismo” by Nicolau Sevcenko (doc. no. 1324569) and “A Curator/A Catalogue” by Aracy Amaral (doc. no. 1324585) regarding the publication Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art].
Art critic and professor Luiz Camillo Osorio teaches Aesthetics and Art History at the Universidade do Rio de Janeiro (UNIRIO). He is also a member of the Curatorial Council of São Paulo’s Museum of Modern Art (MAM-SP). Osorio is the author of Flavio de Carvalho (2000), Abraham Palatnik (2004), and Razões da Crítica (2005).