Kandinsky

alfa xxvi-xxvii » comunicaciones abstracción, sensibilidad y vida. La lectura henryana de Kandinsky agustín Palomar Torralbo [email protected] 2 Resumen Este trabajo presenta la lectura que hace Michel Henry de la pintura abstracta de Kandinsky como una de las manifestaciones más importantes de la subjetividad humana, entendida ésta como sensibilidad. De esta manera, la pintura más abstracta de Kandinsky alcanzaría su comprensión más acertada en una fenomenología radical de la vida.

This work explores the key life events that shaped Vassiliy Kandinsky's complex art vision.  Readers will dive into his mindset, discovering the meaning behind the metaphor of the 'Phoenix' of the abstraction art. Throughout the entire work, this study intertwines the worlds of the historic, artistic, musical and Symbolic in order to give context to the essence of Kandinsky's 'being'.

Letting one's eyes wander over a palette laid out with colors has two main results: (1) There occurs a purely physical effect, i.e., the eye itself is charmed by the beauty and other qualities of the color. The spectator experienoes a feeling of satisfaction, of pleasure, like a gourmet who has a tasty morsel in his mouth. Or the eye is titillated, as is one's palate by a highly spiced dish. It can also be calmed or cooled again, as one's finger can when it touches ice. These are all physical sensations and as such can only be of short duration. They are also superficial, leaving behind no lasting impression if the soul remains closed. Just as one can only experience a physical feeling of cold on touching ice (which one forgets after having warmed one's fingers again), so too the physical effect of color is forgotten when one's eyes are turned away. And as the physical sensation of the coldness of the ice, penetrating deeper, can give rise to other, deeper sensations and set off a whole chain of psychic experi-156 ences, so the superficial effect of color can also develop into a [deeper] form of experience. Only familiar objects will have a wholly superficial effect upon a moderately sensitive person. Those, however, that we encounter for the first time immediately have a spiritual effect upon us. A child, for whom every object is new, experiences the world in this way: it sees light, is attracted by it, wants to grasp it, burns its finger in the process, and thus learns fear and respect for the flame. And then it learns that light has not only an unfriendly, but also a friendly side: banishing darkness and prolonging the day, warming and cooking, delighting the eye. One becomes familiar with light by collecting these experiences and storing away this knowledge in the brain. The powerful, in tense interest iD! light vanishes, and its attribute of delighting the eye is met with indif J ference. Gradually, in this way, the world loses its magic. One knows that trees provide shade, that horses gallop quickly, and that cars go eveni faster, that dogs bite, that the moon is far away, and that the man one sees in the mirror is not real. The constantly growing awareness of the qualities of different objects and beings is only possible given a high level of development in the individual. With further development, these objects and beings take on an inner value, eventually an inne r sound. So it is with color, which if one's spiritual sensitivity is at a low stage of development, can only create a superficial effect, an effect that soon disappears once thc stimulus has ceased. Yet, even at this stage, this extremely simple effect can vary. The eye is more strongly attracted by the brighter colors, and still more by the brighter and warmer: vermilion attracts and pleases the eye as does flame, which men always regard covetously. Bright lemon yellow hurts the eye after a short time, as a high note on the trumpet hurts the ear. The eye becomes disturbed, cannot bear it any longer, and seeks depth and repose in blue or green. At a higher level of development, however, there arises from this elementary impression a more profound effect, which occasions a deep emotional response. In this case we have: (2) The second main consequence of the contemplation of color, i.e., the psychological effect of color. The psychological power of color becomes apparent, calling forth a vibration from the soul. Its primary, elementary physical power becomes simply the path by which color t{:aches the soul. Whether this second consequence is in fact a direct one, as might be IS?

Pepo Toledo expuso escultura por primera vez el 4 de julio del 2010. Esta ha sido una década que ha marcado la historia del arte en esta rama, pero su talento y trayectoria no se limitan a ello. Conozca más de él en esta entrevista que le hizo su amigo Maurizio Colombo. Una conversación entre artistas.

    Describir a Pepo Toledo es relativamente fácil y al mismo tiempo es complicado; fácil porque Pepo es un caballero muy cordial siempre disponible, generoso, garbado, muy atento y con la rara virtud de donar su tiempo para escuchar con interés y atención a su interlocutor. Complicado porque es marcado por los estigmas de arte, pero al mismo tiempo un iluminado mecenas que apoya y ayuda a otros artistas o a nobles causas con necesidades sociales. Y las dos cosas y los motivos se confunden. Es diseñador proyectista y escultor, promotor cultural, editor de finas monografías artísticas, escritor y teórico de arte, suficiente para enredarse y perderse, pero Pepo tiene el don del equilibrio y sabe muy bien en cual planeta navegan sus proyectos y expectativas.

Les critiques n’envisagent pas Beckett comme un écrivain conceptuel, il ne peut pas l’être car il est obsédé par l’idée de l’image, pourtant la négation de l’image se fait, paradoxalement, à travers l’image. Il m’a semblé nécessaire, dans ce contexte, de tenter de trouver les caractéristiques de l’esthétique beckettienne, qui se situe, de mon point de vue plus du côté de la conceptualité que de l’abstraction au sens pictural du terme. Beckett se sert de la picturalité contre elle-même, dans une perspective iconoclaste ; il veut « parler images » mais lorsque cela devient possible il exprime la nécessité de se débarrasser de l’image et du mot qui l’engendre.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Clement Greenberg, renowned as the most significant mid-century American art critic and arguably the most articulate champion of modernist abstraction, might well have been expected to embrace the paintings of Wassily Kandinsky as, at the very least, precursors and models to the paintings of the New York artists that he most admired. After all, Kandinsky was among the few painters in the early 1910s to have developed a language of non-figurative painting, and was among the fewer painters yet to have maintained a long-lasting commitment to abstraction.[2] Given Greenberg's commitment to the New York school of abstract painters (and Jackson Pollock, in particular) one might be temped to dismiss the critic's assessment of Kandinsky as a painter with the "bad luck" to have reached abstraction through German rather than French modernism as a clever, yet transparent attempt to counter those critics who would say that Pollock et al. were simply reiterating a pictorial practice that had been developed fifty years earlier. And while I think there is some substance to the view that Greenberg was rather strategic in his critique of Kandinsky, I also believe that his point is indeed valid. In fact, I would argue that Clement Greenberg's seemingly disingenuous, even facile dismissal may indeed tell us far more about the inner workings of Kandinsky's paintings than the mass of criticism written on their behalf. What follows here is thus an attempt to justify Greenberg's criticism of Kandinsky's work.

En el presente ensayo, analizaré el anuncio publicitario de Absolut Vodka para su producto "Absolut Pears" se trata de un Vodka con sabor natural a pera, la campaña fue lanzada en 2007 con un toque futurista, y la finalidad de darle cierta modernidad y elegancia para atraer un mayor número de clientes. Esta misma se examinará desde los puntos de vista de Wucius Wong, un famoso pintor y teórico que explica los fundamentos del diseño y pintura, Vasili Kandinsky; sus estudios se basan en el punto, la línea, el plano, la forma y los colores, y Donis A. Dondis, diseñadora que estudió y explicó la sintaxis de la imagen.

Reconozco en mis esculturas influencia de Kandinsky y corrientes influyentes en su época, como el constructivismo y el suprematismo. Descubrí a un escultor joven guatemalteco, Rodrigo Santa Cruz Anchissi, haciendo esculturas también constructivistas. Me vino entonces la idea de hacer un diálogo entre dos generaciones. Rodrigo obtuvo espacio para exhibir precisamente en la Sala de Exposiciones “Carlos Mérida” del Banco de Guatemala. Al llegar al lugar nos encontramos con un espectacular mural del propio maestro Mérida,    titulado “Los sacerdotes danzantes mayas” que no podía ser ignorado. Intervino entonces el maestro Guillermo Monsanto, curador de la muestra. Encontró relaciones entre la obra de Mérida, mis esculturas y las de Santa Cruz Anchissi en elementos como estructuras, música, ritmo, color, formas y matemáticas. Fue así que amplió el guion museográfico e incorporó al violonchelista, compositor y productor guatemalteco Paulo Alvarado, quien compuso música especialmente para el evento. Paulo se hizo acompañar del baterista Vinicio Molina y el bailarín Josué Barrios. Así se gestó este singular acontecimiento bajo el nombre Diálogo Introspectivo.

Kandinsky was the first known and recorded European artist to create fully abstract artworks. The religious aspects in his understanding of art have long been highlighted, although thise have often remained from the theoretical viewpoint vague and indeterminate. The article shows that many of Kandinsky’s theoretical foundations can be illuminated in the light of the standards of Russian icon painting. The outlook discusses instead the conditions under which contemporary abstract art can be interpreted religiously.

RESUMO: W. Kandinksy (1866-1944) é, sem dúvida, um dos maiores artistas da pintura universal. Fundador do chamado "suprematismo", inaugurou uma nova maneira de se conceber a pintura e seu conteúdo. Marcado por influências teóricas que remetem diretamente à Teosofia de Rudolf Steine e ao Neoplatonismo presente na obra de Goethe (1749-1832), seus textos se converteram em uma fonte privilegiada para os que se interessam pelo diálogo entre a filosofia e a Arte abstrata moderna. Nesta investigação buscarei evidenciar os elementos neoplatônicos presentes nos textos teóricos de Kandinsky O Espiritual na Arte e Sobre a Sobre a questão da Forma, oriundos diretamente da influência que terá a Doutrina das cores de Goethe. ABSTRACT: W. Kandinsky (1866-1944) is, with no doubt, one of the most brillant artists of universal painting. Creator of the so-called "suprematism", he inaugurated a new style of painting and its content. Marked by theoretical influences that remember directly Rudolf Steine´s Theosophy and goethian (1749-1832) Neoplatonism, his works turn themselves a privileged source for those who are interested in the dialogue between Philosophy and abstract modern Art. In this research, I will try to identify Neoplatonic elements that are present in Kandinsky´s theoretical texts Spiritual in Art and On the problem of form, theoretical texts that have their direct origin from the influence of Goethe´s Colors Doctrine. KENWOKS: Kandinsky, Goethe, Art, Neoplatonism. Marco Giannotti inicia sua tradução da obra A doutrina das cores de Goethe fazendo a seguinte observação: "é preciso dizer de antemão que essa obra não visa particularmente às artes plásticas: ela procura ser útil tanto ao filósofo quanto ao colorista, tanto ao pintor quanto ao químico" (Giannotti, 1993, p. 23). Pelo tom inaugural do texto podemos perceber a amplitude do estudo cromático levado a cabo pelo poeta de Weimar. A cor não é um mero fenômeno plástico e, neste sentido, seu estudo implica em uma investigação que abarca desde o nível físico até o moral.

W assily Kandinsky’s groundbreaking book, Concerning the Spiritual in Art , appeared in December 1911, and has come to be considered perhaps the most influential art theoretical book of the twentieth century. In it, Kandinsky lays out his belief that art, especially abstract painting, can counteract the degenerative effects of contemporary materialist society and help usher in the coming “epoch of the Great Spiritual.” By moving away from recognizable imagery of the visible world, and relying solely on color and non-representational form, he believed, painters could access and express the invisible realities behind our everyday experience of the world, thus acting as vanguard for the rest of humanity as it evolved toward a higher state of consciousness.

Musicisti russi in Liguria, da Cajkovskij a Skrjabin, in “Kandinsky, Vrubel’, Jawlenski e gli artisti russi a Genova e nelle Riviere. Passaggio in Liguria”, catalogue of the exhibition held in Genoa, Palazzo Ducale (27 October 2001-17 February 2002), edited by Franco Ragazzi, Milano Mazzotta 2001, pp.103-10.

Throughout the 19th century, Italy was the most favourite destination of several Russian artists; however, for a good part of the century, Liguria was not only a most favourite place of staying in comparison with other Italian regions, but it was rather a temporary stop for longer journeys.

Het totaalkunstwerk als ideaal was een streven naar de oneindigheid, een oplossing van alle dichotomieën van het moderne tijdsgewricht in een herstel van verloren gegane eenheden: tussen verleden en heden, tussen heden en toekomst, tussen lichaam en geest, tussen de verschillende kunsten, tussen de verschillende zintuigen, tussen het aardse en het hemelse, het menselijke en het goddelijke, tussen subject en object en tussen de kunstenaar en het publiek, de mensheid.  Het totaalkunstwerk (de vereenzelviging van alle kunsten) is dus een product van de wil van de kunstenaar, de wil tot verlossing van het individu en verlichting van de wereld; het is de veruiterlijking van een onbewuste drang. Schilderkunst, muziek, poëzie en alle andere kunsten moeten vereenzelvigd worden om een oerervaring te bewerkstelligen: het gevoel van eenheid met het Al, in een poging al de als vervreemdend ervaren dualiteiten van de moderne wereld te overbruggen. Wellicht is met het afsluiten van het modernistisch project ook het streven naar het totaalkunstwerk irrelevant geworden.

Casa Balla – la residenza romana in cui Giacomo Balla visse con la famiglia per trent’anni della sua vita, lasciando fra “quattro mura” il segno indelebile della sua unica e poliedrica creatività – rimarrà aperta e accessibile ai visitatori per tutto il 2022. Prendendo spunto dall'analisi del colore in questo contesto, il pezzo raccoglie una serie di riflessioni sul colore negli interni.

Articolo apparso su Design Tellers il 27 gennaio 2022

https://designtellers.it/il-colore-e-il-design/il-colore-negli-interni-dalla-casa-museo-balla-alla-dimora-progettata-per-il-benessere/

Het totaalkunstwerk als ideaal was een streven naar de oneindigheid, een oplossing van alle dichotomieën van het moderne tijdsgewricht in een herstel van verloren gegane eenheden: tussen verleden en heden, tussen heden en toekomst, tussen lichaam en geest, tussen de verschillende kunsten, tussen de verschillende zintuigen, tussen het aardse en het hemelse, het menselijke en het goddelijke, tussen subject en object en tussen de kunstenaar en het publiek, de mensheid. Het totaalkunstwerk is dus een product van de wil van de kunstenaar, de wil tot verlossing van het individu en verlichting van de wereld. Schilderkunst, muziek, poëzie en alle andere kunsten moeten vereenzelvigd worden om een oerervaring te bewerkstelligen: het gevoel van eenheid met het Al, in een poging al de als vervreemdend ervaren dualiteiten van de moderne wereld te overbruggen.

The main focus of this book is the use of color in advertising. The research that has been built upon perspectives forwarded by Kandinsky, Scriabin and Elkin tries to find out a correlation between color and music. The study reveals a new perspective on
color-music theory within advertising field. It demonstrates that the color-music correspondence theory proposed by physiotherapist Elkin can be modified due to variables in cultural perception discovered in the sample group.

In this essay, I present the assumptions and recent results of the research and artistic achievements of the project being developed at the DramaLab of the University of Brasília, Brazil (LADI-UnB), beginning in 2016. This project deals with orchestrations based on the Kandinsky's "Composition" series. resumo Neste ensaio, apresenta-se os pressupostos e resultados recentes de pesquisa e realização artística de projeto que está sendo desenvolvido no Laboratório de Dramaturgia da Universidade de Brasília, Brasil (LADI-UnB), desde 2016. Este projeto lida com orquestrações baseadas na série de pinturas de Kandinsky chamada "Composições". Palavras-chave: Kandinsky. Composição. Orquestração. 7 preliminary considerations The reflections outlined here are organized around research entitled "Dramaturgy and Multi-sensoriality: Methodology for elaboration of 'audioscenes' for online environments from the 'Composition' series, by Kandinsky." The research project was approved by the National Research Bureau (CNPq) in its Universal Call for Researchers, 2016, but effectively began in the first semester of 2017. Here are presented the ideas and intentions of the research project. In the second half of 2017, with the financial contribution of CNPq, the analysis of paintings and audiovisual scripts began to take effect. In this second phase, the researcher and multimedia artist Alexandre Rangel has been a fundamental interlocutor. The project proposal was based on the theoretical texts of Kandinsky, the secondary bibliography specific to the theme, and the analysis of a cycle of paintings called "Compositions," in order to perform musical orchestrations

In The Rhetoric of Purity, Mark Cheetham explores the historical and theoretical relations between early abstract painting in Europe and the notion of purity. For Gauguin, Serusier, Mondrian and Kandinsky - the pioneering abstractionists whose written and visual works Cheetham discusses in detail - purity is the crucial quality that painting must possess. Purity, however, was itself only a password for what Cheetham defines as an 'essentialist' philosophy inaugurated by Plato's vision of a perfect, non-mimetic art form and practised by the founders of abstraction. The essentialism of late nineteenth-century French discussion of 'abstraction', Cheetham argues, also infects the work of Mondrian and Kandinsky. These visions of abstraction are central to the development of Modernism and are closely tied to the philosophical traditions of Plato, Hegel and Schopenhauer. As a conclusion, Cheetham provides a postmodern reading of Klee's rejection of the rhetoric of purity and claims that Klee's refusal speaks to contemporary concerns in visual theory and culture. By acting as an antidote to the seductive appeal of purity in art and society, Cheetham's final critique of the trope of purity seeks to preserve the possibility of visual discourse itself.

Resumen: Para comprender la tesis de Kandinsky según la cual «en arte, la teoría nunca precede a la práctica» es necesario dejar de lado los significados habituales de las palabras teoría y práctica y recoger, sobre todo, los sentidos que las palabras θεωρία [theoría] y πρᾶξις [prâxis] tienen en pensadores griegos como Aristóteles. Para el estagirita, la θεωρία es un tipo culminante de πρᾶξις. No es ni lo que precede ni lo que sigue a la πρᾶξις-es la πρᾶξις misma, que acaba por ser cada vez menos pródiga en actos, y, para contrapesar, tanto más rica en pensamiento. La declaración de Kandinsky, en máxima abreviatura, restablece un sentido preciso del arte, partiendo de las dos nociones tradicionales de teoría y práctica, pero modificando radicalmente el sentido de ambas. Abstract: To understand Kandinsky's thesis according to which "in art, the theory never precedes practice" it is necessary to set aside the usual meanings of the words theory and practice and collect, above all, the senses that the words θεωρία [theoría] and πρᾶξις [prâxis] have in Greek thinkers like Aristotle. For the stagirite, the θεωρία is a culminating type of 1 En: F. Fédier (2006), L'art en liberté, París: Pocket, pp. 279-284. Tanto el resumen como las palabras clave son del traductor. 2 Nació en 1935. Ha sido discípulo de Jean Beaufret y Martin Heidegger. Está encargado de la publicación de la Edición integral (Gesamtausgabe) de este último en la Editorial Gallimard de París. Él mismo ha traducido, entre otros muchos textos de Heidegger, los volúmenes 65 y 94 de la Edición integral: «Apports à la philosophie. De l'avenance» y «Réflexions II-VI. Cahiers noirs (1931-1938)»; además, varios de sus Écrits politiques. Autor de Voz del amigo y otros ensayos en torno a Heidegger, Eds. de la Universidad Diego Portales, Santiago de Chile, 2017. Edición de Jorge Acevedo [A menos que se indique otra cosa, lo que va entre corchetes [ ] es del traductor]. Ὁδός Revista de Filosofía Revista de Filosofía Ὁδός VII (9), pp. 77-82