El Lissitzky Beat the Whites with the Red Wedge! 1919–1920. Van Abbemuseum, Eindhoven
“Ɖs epic šo têcs Cazimir Małevič’z radicl pêntñ v a blac sqr – frst šôn in Ruša 100 yirz ago – az ɖ embḷm v a ny āt n a ny ssayti. Ɖ xibišn fīčrz ovr 100 ātists hu tc p its leġsi, fṛm Buenos Îres t Tehran, Lundn t Brlin, Ny Ywc t Tel Aviv. Ɖer pêntñz, fôṭgrafs n sculpčrz simḅlîz Moḍnizm’z ytôpı̣n aspirešnz n brêcdânz.
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Installation view. Photo: Steven White
Prizntd croṇlojcli ɖ šo foloz for ʈīmz:
Ytôpia z xprest ʈru Małevič’z blac sqr, ɖ pṛjenitr v ny isʈetc n ṗlitcl hrîznz, sizd bî ātists fṛm Vladimir Tatlin t Eliu Oičisīca.
Ācitectonics priznts flôtñ jioṃtriz ɖt pṛpoz ny sošl spêsz az imajind bî Łubov Popovā or Pīt Mondrian n Liym Gilic.
Cmynicešn spredz ɖ mesij t ɖ masz in manifstos n avãgād grafics.
Ɖ Evrīde imbedz rūtīnz n objcts in ɖ isʈetcs v prôgres az obzrvd in a txtîl bî Sôfi Tâbr-Āp or ɖ abstract mtifs pêntd on Ṗrūvı̣n loriz capčrd bî Armando Andrade Tudela. Midl Īstn ātists sč az Nazgol Ansarinia lnc Moḍnizm wɖ Aṛbic n Pršn decṛtv āts; ẇl Westn ātists sč az Luis Balts, Pītr Hali or Jeni Holtsr critīc ic̣nomic n ṗlitcl abstraẋn. Advnčrz v ɖ Blac Sqr xplorz hâ abstract āt hz travld wrldwîd, prmietñ âr lîf n tîmz.”
Black Quadrilateral, undated, by Kazimir Malevich. Photograph: Greek State Museum of Contemporary Art – Costakis Collection, Thessaloniki
Dan Flavin’s ‘Monument’ for V. Tatlin, 1966-9. Photograph: Tate Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art Facebook Twitter Pinterest Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection Facebook Twitter Pinterest
Swatch of Snap Fasteners 11, 1964 by Bela Kolárová. Photograph: Estate of Bela Kolárová
Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art
Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection
Left: Light Signs #1 (Korea) (1995) by Gabriel Orozco; right: Black and White, Suprematist Composition (1915) by Kazimir Malevich. Photograph: Marian Goodman Gallery, New York/Moderna Museet, Stockholm
Left: Composition with Yellow, Blue and Red (1937) by Piet Mondrian; right: Metaesquema 464 (1958) by Hélio Oititica. Photograph: Tate/courtesy Hélio Oititica
BÎLATṚL │ 1959 │ Ŷlcasīn imulšn on wŭd fîbrbwd │ 115 x 600 x 600 mm
UNTÎTLD, ẆÎT SIYRIZ │ 1959 │ Guāš on cādbwd
RED SIYRIZ │ 1959 │ Ŷlcasīn imulšn on wŭd fîbrbwd │ 1150 x 1150 x 1150 mm
SPÊŠL RLĪF (RED) │ 1959 │ Polīvinil aṣtêt rezin on plîwŭdobjct │ 625 x 1480 x 153 mm, 15 cg
ṖRANĠLE, P4 CÊP 1 │ 1964 │ Fôto: Sržiu Zalis
P07 ṖRANĠLÊCÊP 04 ‘CLĀC’ │ 1964-65 │ Pênt, canvs, brlap, vinilplastc │ 1310 x 985 x 60 mm
GRAND NYCLỊS │ 1960-6
B08 BOLIJI 02 │ 1963-4 │ Ŷl n dstempr wɖ polīvinil aṣtêt, imulšn on wŭd, glas, pigmnt │ 270 x 280 mm dîaṃtr č glasobjct; wŭdboxz: 205 x 144 x 140 mm
INVENŠN V CULR, MCET FR MAJC SQR NR. 05, RIU DI ŽNÊRU │ 1978 │ Acrilic on wŭd; acrilic on wîrscrīn, plexīglas │ 115 x 600 x 600 mm
“IMMA priznts a mêjr xibišn v ɖ wrc v ɖ inṭnašnli rnând Bṛziłn ātist Êliu Ýčisīca (1937–1980). Proṗzišnz includz a ṣxnct ṣlẋn v wrcs bî Ýčisīca, includñ vîtl xamplz fṛm ʈrt hiz pṛlific c̣rir wɖ a vy t iluminetñ hiz āthistoricl impwtns n reḷvns t cntmprri practis.
Ýčisīca wz an iṇvetr v inṭractv n xperienšl ātwrcs huz wrc hz inflụnst mni ci cntmprri ātists. Ōdı̣nsz r incurijd t ingej, xplor n ptisipet in ɖs culrfl xibišn – vizitrz cn trî on hiz weṛbl Ṗranġlez n injý ɖ fun v dresñ p az a môbîl sculpčr.
Ɖ xibišn hîlîts Ýčisīca az an ātist huz impuls t dpāt fṛm ɖ tṛdišnl cnspšn v ɖ ātwrc, wɖ a constnt ŕj fr rnywl n xperimntešn, wz significntli ahd v hiz tîm. A ptklr fôc̣s v ɖs xibišn z ɖ pṛpozlz n riinactmnts lêd ât bî Ýčisīca. Wrcs r dspled ẇč iḷstret ɖ ātist’s drîvñ cnviẋn ɖt culr n fwm šd imansipet ɖmslvz fṛm ɖ srfis intu spês n tîm, n ɖt ɖ inṭgrešn v ɖ vywr z intrinzic t ɖ ātxpirı̣ns.
Ɖ xibišn at IMMA xpandz upn prīvı̣s xibišnz on Ýčisīca bî investigetñ nošnz v ɖ script n pṛpozlz, ẇč ɖ ātist ingejd wɖ ʈrt hiz lîf, n in ptklr in hiz lêtr wrcs. Frɖrmr, emf̣sis wl b plêst on ɖ ptenšiaḷtiz at ple wɖn Ýčisīca’z ātwrcs, relmz v psblti ẇč ɖ ātist trigrd ʈru hiz specteṭractivetd insṭlešnz, sculpčrz, pêntñz n weṛbl Ṗranġlez. Recgnîzñ Ýčisīca az an iṇvetr v inṭractv n xperienšl ātwrcs huz wrc hz inflụnst mni v ɖ ci cntmprri ātists wrcñ wɖn ɖ fīld v rlešnl isʈetcs, ɖ xibišn wl xamin ɖs impuls az it rvrḅrets ʈrt hiz ŕvra n intu ɖ public relm.
Ôpnñ ɖ xibišn at IMMA z an intṛductri sẋn, Ýčisīca at IMMA, includñ a sxnct ṣlẋn v Îriš n inṭnašnl ātwrcs, čozn bî ɖ kretrz v ɖ xibišn fṛm ɖ IMMA C̣lẋn. Ɖs ci ṣlẋn wl hañ at ɖ entṛns t ɖ xibišn, az a complimnt t n xpanšn on ɖ wrcs v Ýčisīca, čozn in ptklr t hîlît ɖ aspects v vyẉrinṭraẋn, vîbṛnt cuḷrysij n cinetc muvmnt, so ci wɖn hiz ŕvra.
IMMA z dlîtd t b wrcñ in c̣laḅrešn wɖ ɖ M.A. cws Āt in ɖ Cntmprri Wrld, NCAD, t riylîz a ṣlẋn v ɖ ritn Proṗzišnz bî Ýčisīca. Ɖz wl b kretd n inactd bî stydnts on Saṭde 19 Jlî in ɖ gādnz at IMMA, n wl ofr a ynīc oṗtyṇti t cnct fizicli n cnspčli wɖ ātwrcs.
Rīsnt sôlo xibišnz includ Sūpṛsenswrı̣l: Xperimnts in Lît, Culr n Spês, MvCA, Los Anjlīz, Califwňa (2010); Ċlctñ a Ṗetc Ynivrs, Myziym v Fîn Āts, Hūstn, Texs (2007); n Êliu Ýčisīca: Ɖ Bodi v Culr, Têt Modn, Lundn (2007). Ýčisīca’z wrc hz bn includd in ɖ 2010, 1994, 1965 n 1957 Sâ Pâlu bîeňlz. Ɖs xibišn z côkretd bî Sezar Ýčisīca Fiłu, nefy v ɖ ātist.
T māc ɖ ôpnñ v ɖ xibišn IMMA prizntd SUMR̦ÎZÑ: Ɖ IMMA Festivl, ẇč ran fṛm Frîde 18 (ôpnñnît v ɖ xibišn) t Saṭde 26 Jlî. Êliu Ýčisīca pṛpozd wɖ hiz wrc wez v gvñ ɖ indivijl ɖ psblti t “xperimnt”, t no longr b ɖ spectetr, n bcm ɖ ptisipnt, n it z in ɖs spirit ɖt IMMA invîtd vizitrz t b pāt v ɖ SUMR̦ÎZÑ – t têst, t lisn, t lc, t injý n, most v ol, t têc pāt.
A publicešn wl b pṛdyst t acumṗni ɖ xibišn, n wl includ a ṣlẋn v raitñz bî Êliu Ýčisīca, sm prīvı̣sli unpublišt.”
“Fṛm radicl iṇvešnz in ɖ ys v culr n fwm t ny mtirı̣lz lîc nion n inṭractv, cinetc sculpčr, ɖs xibišn rvilz sm v ɖ most orijinl āt v ɖ last 100 yirz.
Ɖ tîm: 1930z. Ɖ plês: Sâʈ America. Ɖ stêj wz set fr a mêjr iṇvešn in āt. Ovr ɖ nxt 50 yirz, ātists acrs fîv sitiz wd pạnir a ny vižl lanĝj t xpres ɖer dīpli held ḅlifs abt āt n its pâr t čenj ɖ wrld arnd ɖm.
Radicl Jioṃtri brñz tgɖr wrc fṛm ɖ Colección Patricia Phelps de Cisneros bî sm v ɖ grt iṇvetrz v Sâʈ Americn modn āt, fṛm Toriz Gāsīa in Yṛgwî t Līža Clāc in Bṛzil, fṛm Malḍnādo in Ājntīna t Gêgo in Veṇzwela. Inspîrd bî Yṛpiyn ātists sč az Mondrian n Candinski, ɖer bold xperimnts wɖ spês, muvmnt n culr radicli trnsfwmd ɖ rlešnšp btwn āt n vywr.
Ɖs z āt ɖt rfyzz t b cntend bî its ôn ṗrimitr, āt ɖt rupčrz ɖ bândri btwn ɖ objct n ɖ spês arnd it n intṛdysz dnamic fwmz t gv ɖ ilužn v mošn n voḷtiḷti. Y wl si wrc ɖt čenjz az y muv arnd it, n drōñz wɖt pêpr ɖt yz negtv spês n šado t criet ynīc, flītñ comṗzišnz.”
