Carlos Cruz-Díez is considered the great name in world kinetic art. His artistic proposal, one of the most original of the movement, solidly positions the theme of color among contemporary thinkers.
The artistic career of "Maestro Carlos" - one of the last thinkers of 20th century colour - has been permanently marked by incessant research and permanent development of new proposals. Each work is, at the same time, a result and testimony of an arduous research on several aspects of the chromatic phenomena, which are searching for efficient solutions, exploring materials, formats and processes. The spectator plays a fundamental role in the artist's work, creating new and constantly changing situations, so that his general configuration also works a dynamic and constant unity.
The rigorous line of research that underpins his work over six decades can be summed up in the following conclusion: colour is an evolutionary situation, an experience closely linked to time and space.
Galeria de Arte Ipanema is proud to present the exhibition “Cruz-Díez: Um Olhar Sobre a Cor”, bringing together unpublished works by the world's greatest living kinetic artist. And, together with our public, we are very pleased to celebrate the inauguration of our new address in Ipanema.
We hope you enjoy the exhibition as much as we do.
Luiz e Luciana Sève
[My Ideas on Color]
My work and my research have shown that color is not just "the color of things, the color of a specific object or simply the color of a shape.
Color is an evolutionary situation that impacts human beings with the same force - and even violence - as cold, heat, libido, sound and others. .
The information and knowledge we have absorbed over the centuries prevents us from discarding the idea of "artistic colour" - pigments in an emulsion applied on a surface or on transparent glass. This means that colour has always been understood and used as "something" that accentuates form; it has always been used as a specificity of form.
In general terms, this concept did not evolve; it remained static, leading to the eternal association COR-FORMA: the red apple... the white table. This can be illustrated in grammatical terms by saying that color has always been the complement of the subject who is form, so that color has always been seen as one of the characteristics of form. . . . .
However, the definitions proposed by Aristotle (384 B.C. - 322 B.C.); the theories developed by Goethe (1749-1832), Isaac Newton (1643-1727) and Thomas Young (1773-1829); the treatise articulated by Michel-Eugène Chevreul (1786-1889); and the research done by Josef Albers (1888-1976) all confirm the instability of color. ..
Despite the conclusions drawn by these renowned researchers and corroborated by documents and scientific evidence, this perception of color was ignored and that is why the general approach to color has not evolved. With few exceptions, color was used in art as an instrument of permanence and stability, in an unthinking indifference to its most characteristic trace, which is its essential mutability.
I propose the concept of AUTONOMOUS COLOR, without specificities, without symbols, occurring as an evolutionary event in which we are involved.
Throughout my chromatic career, I have tried to show color as a FUGIDE SITUATION, as an AUTONOMOUS REALITY IN CONSTANT CHANGE.
It is a reality because events occur in space and in real time; they have no past or future, they exist in the perpetual present. .
It is autonomous because its expression does not depend on form, specificity or even on a support. .
When these qualities are recognized, a different dialectics can materialize between the observer and the work of art, which will open a NEW CHANNEL OF COMPREHENSION.
Observers will then be able to discover their ability to create and destroy color through their own means of perception; they will also be able to find their own emotional identification. . .
In my works, color appears and disappears during the dialogue with real space and time. What also appears is the undeniable fact that the information we absorb and the knowledge we memorize throughout life is probably not true... at least to some extent.
Thanks to color - when it is approached through an "elementary vision" free of preexisting meanings - we can awaken other sensory mechanisms of apprehension that are more subtle and complex than those recorded in us by our cultural conditioning and the flood of information that is omnipresent in contemporary society.
Carlos Cruz-Díez, Paris , 1969