Abstract Art

Resulta imposible interpretar por completo una obra de arte; solo cabe aproximarse a un instante detenido dentro de un proceso continuo. En “El espacio entre líneas”, Robert Ferrer i Martorell presenta esculturas terminadas, junto a dibujos previos y una maqueta del proyecto expositivo. La muestra se articula en torno a tres ejes: gravidez, proporción y movimiento, abordadas desde una coherencia plástica que combina técnica y poesía.

El dominio del material por parte de Ferrer revela un equilibrio entre procedimientos industriales y artesanales. Su obra se construye desde módulos y estructuras abstractas, organizadas con precisión, claridad y luz. A través de una depuración progresiva, reduce componentes y emplea relaciones modulares, conformando un lenguaje austero pero fértil, afín a las teorías de Klee.

Sus esculturas articulan el espacio mediante ritmos visuales análogos a los musicales, donde armonía, intensidad y movimiento se traducen en modulaciones cromáticas. Ferrer emplea módulos como unidad constructiva, siguiendo principios rítmicos del neoplasticismo y la Bauhaus. Este patrón ordena las composiciones y define sus límites, desde las geometrías triangulares de “Estructures en construcció”, hasta las composiciones de “Proporcions”, o la instalación de varillas pendulares.

Materia este o energie eternă a Adevărului Absolut, Dumnezeu. Sufletul și timpul sunt, de asemenea, eterne, dar karma este temporară. Studiul acestor cinci subiecte ne ajută să înțelegem mai bine natura lumii noastre și face parte dintr-o practică spirituală care ne reînvie satisfacția și bucuria înnăscută.

Based on fieldwork in the East Kimberley region of Western Australia, I examine the locally-sourced pigment Mawoondool for Gija people in the community of Warmun, and intervene in theories related to art and agency. I discuss Mawoondool as a medium used in art, material culture and cultural practices. Through ethnography, I argue the significance of Mawoondool is bound to the cultural processes that govern its collection, distribution and application, which connect with Gija understandings of goodness and improvement and manifest visually as white dots. As such, I argue in favour of a culturally specific form of aesthetics and that Mawoondool is a substance activated by Gija people. In demonstrating that Mawoondool white dots are inseparable from Gija cosmological attunement and epistemic practice, I suggest that Mawoondool is mobilised in Warmun as a material and conceptual medium for sustaining Gija life-worlds and negotiating the Australian Aboriginal art economy.

Linhas e cortes tanto separam quanto unem. Essa é uma sabedoria que cabe a diversos fazeres, a distintos campos de ação e conhecimento. Nas artes visuais, cortes e linhas têm toda a complexidade dos elementos simples, pois fundamentam vocabulários, procedimentos, tradições, imensas memórias e também rupturas. Como operações literais, gestos deflagrados, jogos ópticos, nexos dramáticos ou metáforas existenciais, são elementos constitutivos das linguagens e histórias do desenho, da pintura, da colagem, do cinema, da escrita, da costura e da construção de objetos e espaços. Em materialidades e manuseios variados, os atos de traçar, atravessar, dividir e marcar têm a antiguidade da expressão humana, mas também a atualidade de nossos vínculos mais básicos com o mundo, pelos quais ainda orientamos e sensibilizamos esse mundo.
Iracema Barbosa tem transitado, ao longo de mais de 30 anos de trabalho artístico, por processos de mobilização plástica e afetiva de linhas e cortes. Desde o início, seu trabalho se fez pelo movimento intuído e pela decisão meditada sobre os limites, seja no envolvimento com a direção e a montagem de filmes ou na prática do desenho e da pintura, vivenciados intensamente a partir do final dos anos 1980. O engajamento expressivo com planos e cisões, perspectivas e justaposições, contornos e contiguidades despertaram a artista para o universo ilimitado dos limites. Isso significa sentir a oscilação entre unidade e partes, entre figura e fundo, objeto e espaço, igual e diferente; significa produzir, assumir e deslocar interfaces e interrupções, portanto é algo que concerne a toda experiência da arte. Tornar-se artista, entre muitas outras coisas, implica lançar-se à vertigem dos limites.

Este trabajo  responde a una investigación de posgrado y se propone abordar la historia fundacional del museo, al indagar en los postulados cultuales, políticos y estéticos que sostuvieron su conformación a mediados del siglo xx. Se indagará sobre la creación del museo y cuáles fueron las redes y diálogos que le dieron origen. Se espera entonces reconstruir el proceso de conformación e institucionalización del Museo de Bellas Artes de Junín.

Los artistas que quisieron alcanzar el reconocimiento de las Exposiciones Nacionales con el sabor de algunas de sus medallas, practicaron géneros tipificados de agradable apariencia para sus contempladores o de elevado contenido histórico o ético, tal es el caso de José Bermudo Mateos. El "Pintor Bermudo", como así se le llama en muchos artículos de prensa, se inclinó muy pronto hacia el dibujo y la pintura, teniendo una buena formación académica en Madrid, que le hizo llegar a ser profesor de la Escuela Superior de pintura, escultura y grabado, optando sucesivamente a estas exposiciones, que le darían un nombre y un futuro en el camino del arte. Participa activamente en el ambiente cultural de su época, que contribuyó en gran manera al florecimiento de la pintura extremeña de finales del XIX y principios del XX, no sólo en España, sino en Europa y América; que formó parte de las exposiciones de su época y que gozó de la simpatía de los artistas y de la crítica de su generación, ya que había sido injustamente condenado al ostracismo. En cuanto a los géneros tratados en sus obras, el estilo paradigmático de su arte, será el costumbrismo así como los cuadros de género o los paisajes, muy importantes en sus obras, no sólo como género independiente, sino como parte integrante de su producción. A su vez, llevará a cabo obras de historia, alegorías y algunas de carácter religioso. Por tanto, Bermudo tratará todos los géneros, aunque su producción se inclinará más hacia los primeros, pues serían los que más fama y prestigio le darían a lo largo de su vida. D. JOSE BERMUDO MATEOS, nació en el Arrabal de Huertas de Ánimas, Trujillo (Cáceres), el día 9 de Noviembre de 1853, y fue bautizado en la parroquia de San José del citado Arrabal, el día 16 de dicho mes y año. Era hijo de D. Carlos Bermudo Galván y de Dña. Cándida Mateos y Fernández, siendo José el primero de un gran número de hijos. Dña. Cándida era de dicho Arrabal, hija de ricos labradores, mientras D. Carlos era de Azuaga (Badajoz) y pertenecía a la clase capitalista de aquella localidad. Estudió en Madrid en la Bermudo: Un artista olvidado | 2 categoría de internos en Sobre la infancia de José Bermudo se tiene poca información. Se sabe que sus primeros años en Trujillo, comenzaría su formación escolar con el gran maestro D. Juan de Dios y pasados unos años, sus padres fijaron su residencia en Madrid, teniendo que continuar los estudios en esta ciudad, ingresando en el Instituto de San Isidro, donde se matriculó para Dibujo, cursando en un año los cuatro de geometría y dándole el pase con buenas calificaciones, para la Escuela Superior de Pintura, Escultura y Grabado. En dicha escuela, ingresaría en la clase de lo Antiguo y Ropajes, pasando al mes siguiente a la de Natural y Colorido. Por aquella época realizó una obra, "Mefistófeles", que mandó a la Diputación como demanda de apoyo, por encontrarse en este momento, separado de su familia, pero se le negó . Algún tiempo después se le concedió a otro esta ayuda, a quien la Diputación de Badajoz le tenía pensionado por creerle hijo de aquella provincia. Pero estas premisas eran falsas, y una vez enterada de que no lo era, la Diputación de Badajoz le retiró la ayuda. En vista de esto, la Diputación de Cáceres no tuvo más remedio que otorgársela, dándole luego otra pensión para ir a Roma. Cuando Bermudo se enteró de esto, solicitó a la Diputación, que se sacara a oposición esta ayuda para llevársela el que lo mereciera, pero también esto se le negó. En vista de ello, tuvo que concurrir como alumno libre y gracias al afecto que le tenían los profesores, D. Federico Madrazo, D. Carlos Luis de Rivera, Exparter Ponzano Ponciano y Valdivieso,… encontró siempre sitio en la clase, dedicándose después a copiar en el Museo. Aquí realizó en esta época algunos cuadritos con los que se ayudaba económicamente.

This chapter addresses the question of the circulation of images within social domains, such as art, science, politics and advertising, in order to investigate the various “image economies” correlated with these social domains. I will mostly focus on the artistic social domain which is the most complex and diversified one with respect to dominating values. In this regard, I will take into account the theory of French semiotician Jean-François Bordron, who explains the notion of economy as a cosmology of sorts in which all the objects it includes are regulated by values that it makes understandable and relatable. Resorting to this concept of economy is necessary to explain the different systems of value underlying images, especially when considering images in the process of their social circulation from one domain to another. The questions I address while referring to this notion of economy are
the following: How many kinds of economy can an image pertain to? Under
which economy do artistic images circulate? What about scientific images?
How, and under which status does an image circulate as a specimen belonging
to a group of rare objects, or as a specimen of a serially reproduced series of
images that are dispersed throughout the world and seemingly devoid of value?
How does a fake circulate?

Penelitian ini bertujuan untuk memahami kemampuan mahasiswa dalam menggambar anatomi berdasarkan teori garis estetis William Hogarth di Program Studi Seni Rupa Universitas Negeri Padang. Penelitian ini juga ingin mengetahui klasifikasi gaya visual dalam kemampuan mahasiswa menggambar mahasiswa pada mata kuliah anatomi plastis, berdasarkan teori garis estetis Hogarth. Teori ini memperhatikan garis utama, yakni Line of Beauty (garis S yang dinamis). Manfaat dari penelitian ini adalah memberikan masukan bagi dosen mata kuliah dalam membangun potensi sumber daya mahasiswa dalam menggambar anatomi plastis, serta memberi gambaran kepada mahasiswa dalam memilih teknik-teknik menggambar anatomi plastis yang tepat. Penelitian ini menggunakan metode kuantitatif deskriptif, yaitu metode yang bertujuan menggambarkan suatu fenomena dengan data berupa angka, persentase, dan tabel distribusi. Penelitian ini menggunakan sampling total dengan populasi sebanyak 60 mahasiswa pendidikan seni rupa. Data diperoleh melalui dokumentasi karya mahasiswa dan observasi visual, kemudian dianalisis dengan teknik klasifikasi garis serta penilaian penerapan prinsip estetika Hogarth. Hasil penelitian menunjukkan bahwa sebagian besar mahasiswa berada dalam kategori Line of Beauty, dengan variasi tingkat keluwesan dan kompleksitas garis. Mahasiswa yang mampu menggabungkan ketepatan proporsi dengan kelenturan garis cenderung menghasilkan karya yang sesuai dengan prinsip estetika Hogarth. Sementara itu, mahasiswa yang masih fokus pada ketepatan teknis sering kali menghasilkan garis yang lurus dan kaku.

¿Qué sigue siendo cierto en una época en la que la verdad es socavada por las redes sociales y la inteligencia artificial? Aunque Platón ya nos indicó que la verdad no necesariamente equivale a lo que llamamos realidad, dos museos en el este de los Países Bajos consideran que hay un resurgimiento del realismo en el arte contemporáneo. El Museo More, no lejos de la ciudad holandesa de Deventer, presenta una muestra del realismo neerlandés de los últimos diez años bajo el título 'Reality Check', mientras que el Drents Museum en Assen ofrece una visión general de 75 años del arte figurativo bajo el título 'Gen F', hasta el 17 de agosto de 2025. Pero ¿qué implica entonces este realismo actual?, ¿cómo se relaciona con movimientos realistas anteriores en el arte y existe quizás también un vínculo con culturas no occidentales?

Exploración de la relación entre el alma, el vacío y la espiritualidad en la obra escultórica de Jorge Oteiza. Partiendo de una tradición metafísica que concibe el alma como errante y desprotegida en el mundo moderno, se analiza cómo las Cajas metafísicas de Oteiza ofrecen un refugio espiritual mediante el vacío. Se establece un vínculo entre su obra y el pensamiento de Simone Weil, así como con el misticismo y las estructuras prehistóricas como los cromlechs. La escultura de Oteiza se presenta como espacio sagrado, donde el alma encuentra reposo, conciencia y trascendencia a través de la forma y la ausencia.

This trilingual study examines the graphic works of Erik Scholz (1926-1995), a Munkácsy Prize-winning Hungarian artist, focusing on five decades of work from the 1950s through the 1990s. The research analyzes Scholz's use of drypoint technique and explores his approach, which he termed "associative naturalism," characterized by recurring natural motifs including trees, roots, and organic forms.

The study documents Scholz's graphic production through analysis of sketchbooks, drypoint etchings, and drawings, demonstrating how his graphic works functioned as an independent area of experimentation alongside his painting practice. Rather than serving as preparatory studies, these works explored similar themes through different technical means, particularly through the directness of drypoint's contact with the metal plate.

The research traces the development of Scholz's graphic language, from figurative compositions in his early work to increasingly abstract explorations of form and texture in his later years. Technical aspects receive particular attention, including his use of line, the relationship between controlled technique and spontaneous gesture, and his adaptation of methods associated with informel painting and abstract expressionism to the graphic medium.

Published in Hungarian, English, and German, this study provides documentation of Scholz's graphic oeuvre within the context of 20th-century Hungarian art, offering primary visual materials and contemporary critical responses to his work in this medium.

A lo largo del presente trabajo, se propone un gesto insolente (y damnificado desde el comienzo): hacer una filosofía de lo imposible, decir el abismo (aquello que Derrida, hablando sobre el afuera, categorizaba como “imposible-impensable-indecible”). De la mano de la insolencia (por tratar de decir lo indecible, de pensar lo impensable) de autores como Eckhart, Böhme, Schelling, Heidegger o Bataille, ahondamos, en el marco del escrito propuesto, en la pregunta (doblemente) fundamental: no nos preguntamos por el fundamento de esto o de aquello… nos preguntamos por el fundamento del fundamento. ¿Qué hay debajo del suelo que sostiene los cimientos del sentido, la palabra y la razón? ¿Qué sostiene aquel suelo que sostiene (si es que “hay”, “allí”, propiamente “algo”)? La tarea de la investigación planteada es, en realidad, un intento (pues comunicar el abismo no es otra cosa que un intento): es el esbozo de una filosofía del fundamento del fundamento, del suelo del suelo, del fondo del fondo… lo que equivale, como se trata de demostrar en los márgenes del trabajo (solo hay margen, en realidad, en el afuera), a una filosofía del infundamento, del abismo, del fondo sin fondo, de lo imposible.

With the exhibition Poetry of Light the Museum Frieder Burda is celebrating one of the great pioneers of Abstract Expressionism: the painter, sculptor, and photographer Richard Pousette-Dart (1916-1992). To date, the exhibition is the largest and most extensive show dedicated to this key player of American postwar abstraction at a museum outside the United States. On display are paintings, sculptures, objects, drawings, and photographs from more than six decades of creative activity-amongst them numerous works from private collections, which are not usually accessible to the general public. Amongst the 137 loans culled from 17 international collections are largescale masterpieces of Abstract Expressionism, which have been made available by the Brooklyn Museum, the Museum of Modern Art, and the Whitney Museum of American Art in New York.

Nuove prospettive sulla lezione di un grande maestro, che ha saputo coniugare mito antico e uomo moderno d i M a r c o T o n e l l i Lo scultore anticlassico Marino Marini in un ritratto di Aurelio Amendola a Forte dei Marmi, 1973. L'artista è protagonista di una mostra alla Galleria d'arte moderna e contemporanea e alla Fortezza Medicea di Arezzo.

Róbert Šwierkiewicz (1942-2012) is a prominent figure in Hungarian avant-garde art, who worked in many fields, from graphics to painting to installations and performances. This study was prepared for the exhibition presenting his oeuvre. (Hungarian and English)

Zachęta-National Gallery of Art invites contributions discussing the history and continuity of artistic relations between Eastern Bloc countries and Asia, Latin America, and Africa. The theme is inspired by the history of the Central Bureau of Art Exhibitions, an institution based in the Zachęta building that operated from 1949 until the onset of the systemic transformation in the Eastern Bloc.

This essay arises from the interest for tracing the philosophical basis of Expressionism stating what it stands for as an artistic renewal movement. In this sense, the general problem this study intends to implicitly maintain is the way a philosophical and systematical thinking can directly and indirectly influence the development of a certain artistic movement. Therefore, it is necessary to show the implications an epistemological, anthropological and -most important-metaphysical conceptions have on art. Thus, this writing has the aim to critically evaluate the thoughts of Arthur Schopenhauer and Friedrich Nietzsche under the premise that their postulates prepared the rational ground for Expressionism to appear. In this way, the thesis demonstrated in this paper is that the predominant elements in Expressionism correspond to the way Schopenhauer and Nietzsche conceive mankind, the subject, and the World. Given the above, this study must not be considered as historical but as philosophical. Thus, it is not of main priority to reconstruct the historical context of Expressionism and both philosophies treated in this analysis; instead, it is important to focus on the idea that this relationships are established in a conceptual and metaphysical way. As a consequence, this paper proceeds in a correlational way between philosophy and art. The structure of this paper is: firstly, Expressionism is described as the artistic movement that broke with classical aesthetics which had prevailed in art history and set new ideas of beauty and art in general; afterwards, Schopenhauer´s philosophy is related to Expressionism in its main concepts of the world conceived as Will and representation; subsequently, Nietzsche´s idea of renewal and recreation of mankind, its values and its self-concept is linked to Expressionism as fundamental for the change of rules in art and its entire program for a new idea of the subject. It is essential to delimitate -as far as possible-the concept Expressionism and its implications. First of all, in an intuitive manner, Expressionism would be a self-explanatory concept in the sense that it indicates exactly what it stands for and ends right there. That means Expressionism is, in a very general and immediate way, the artistic movement of expression. However,

"Bala on Forgacs," my review of Éva Forgács’s edited volume, "Between Point Zero and the Iron Curtain: International Cooperation in Art at the Postwar Moment, 1945-1948," is now available on H-SHERA. The chapters in the book by art historians from Germany, Hungary, Poland, Czechia, Romania, Belgium, the United Kingdom, and the United States, discuss case studies in which various postwar neo-avant-garde artistic movements, predominantly in Central and Eastern Europe, attempted to revive the experiments of their interwar predecessors during the brief period between the end of World War II and the start of the Cold War. Forgács’s volume, I claim, draws a new arc in the history of abstract art: It traces efforts to articulate a “visual lingua franca” through the artistic techniques or "grundoperationen" of the zero point of existence to which Europe had been reduced at the post-war moment (and not for the first time).

Furthermore, Forgács’s volume frames the issue of abstraction in a way that recent de-colonial (particularly Americocentric) methodolatry, by virtue of its own imperative to designate abstraction as an index of power or privilege, simply cannot grasp. The book provides an alternative understanding of abstraction, not as a privilege, but as a catastrophe — and at the same time, a new hope for a liberated future.

Fenrir and the Bonds of the Hitler Youth examines the architecture of the Hitler Youth camps in the Black Forest during the 1930s, interpreting them as an extreme manifestation of the ideological project to subjugate the natural environment to the needs of the regime. Through an analysis of the handbook Freude, Zucht, Glaube (1937) and a comparison with spatial models such as the Roman castrum and the medieval German village, the chapter shows how camping was transformed into both a tool of political and military education and a symbol of the supposed “ethnic-political unity” of the Volk with its Heimat. The architecture of the camps, presented as organically fused with the forest, instead reveals an ideological artifice rooted in the will to dominate and in the mystification of natural laws. The mythological figure of the wolf Fenrir becomes a metaphor for nature’s rebellion against every attempt at domestication, exposing the failure of the National Socialist project to transform the landscape into an extension of its own ideology. The text by Gianluca Drigo is accompanied by the visual essay by Pietro Franchin, which enriches the analysis with a graphic and iconographic reflection on the theme.

Today's developments in morphometry through pattern recognition tools developed for deep learning offer us the elements of a "geometry" obtained a posteriori from the analysis of vast data sets of objects; it is a geometry constructed by "abductive" reasoning, which is very different from the a priori hypothetico-deductive reasoning of geometry tout court. The applications of this abductive morphometric geometry are verifiable retrospectively-in its statistical adaptation to the facts it describes-and prospectively, when used to generate new forms that have a semiotic status comparable to that of "asemic writings".

En otro lugar hemos argumentado que el "vacío" puede ser considerado como el concepto central del pensamiento político posfundacional. Pero, ¿podríamos encontrar también un "centro ausente" de la estética, análogo al que Žižek una vez descubrió en referencia a la "ontología política"? En este capítulo vamos a explorar esta otra tesis, a saber: que el "vacío" puede ser considerado también como el concepto central del arte contemporáneo. Ahora bien, de las siete clásicas "bellas artes", en el presente capítulo no nos dará tiempo de explorar más de dos, buscando en cada caso un ejemplo paradigmático que sitúe al "vacío" posfundacional en el "centro ausente" del arte contemporáneo. Aquí nos concentraremos en las artes plásticas (la pintura de Klein, así como la escultura de Chillida), mientras que dejaremos para una próxima entrega las escénicas (con el teatro de Beckett y la música de Cage). Por un lado, en el caso de la pintura, trataremos el "salto al vacío" y la "exposición vacía" de Klein, así como sus "monocromas" y la reciente exposición "Vides. Une rétrospective" que tuvo lugar en el centro Pompidou en 2009. Por otro lado, en lo que respecta a la escultura, seguiremos con (Oteiza y) Chillida, verdadero "arquitecto del vacío", así como su encuentro con Heidegger a propósito de "El arte y el espacio".

This article presents an exploratory research investigating the integration of pop music and statistics lesson as an intervention to promote students' attitudes and strengthen and extend their beliefs towards mathematics. Thirty-five students randomly selected from 189 students in 6 th grade in a primary school in Southeast China were provided a 90-minute mathematics lesson integrated with music composition activity taught by the first author. Pre-and post-questionnaires with closed-ended and open-ended questions on evaluating students' attitude and belief toward mathematics were provided before and after the lesson. The results demonstrated the mathematics lesson integrated with music had a positive effect on students' attitude and beliefs toward mathematics learning.

ROSEMARIE CASTORO FROM 1966 TO 1972
In 2010, Rosemarie Castoro compiled a document in which she sums up her career in powerpoint slides. The 976 page presentation includes not only images of her work, but also press clippings, photographs of the artist in action, and explanatory comments. Over the course of her career, RC also wrote various statements concerning the intentions or reception of her works, and some “narrative biographies." This article treats the beginning of her career with the idea of comparing the truth of RC's self-description with other documented reality.

This paper describes the collaborative work of women artists and researchers in Human-Computer Interaction and gender studies who were involved in the creation of the animated short film entitled Mnema. Drawing from interviews with eight Portuguese women in the video game industry and an analysis of archives documenting the rise of gaming culture in Portugal, the film incorporates elements of video game language and aesthetics to highlight the experiences of cisgender women in this male-dominated field. Mnema is an audiovisual creative endeavour that establishes a link between the testimonies of real women and fictional storytelling, aiming to raise awareness about the cycle of exclusion of women in the digital games industry and envision a change in this sector, while translating academic research into a docufiction video artwork.

Organizzata nel 100° anniversario della nascita, la mostra rende omaggio alla figura e all'opera di Erminio Maffioletti (Bergamo 1913 -2009). Figura carismatica della cultura artistica bergamasca, pittore di notevole vena sperimentale, Maffioletti, per molti anni Docente di Pittura al Liceo Artistico e all'Accademia Carrara di Bergamo (di cui è stato anche Direttore) ha indagato le problematiche dello spazio pittorico coniugando la ricerca sul linguaggio con quella sui materiali e le tecniche, segnalandosi per l'originalità delle invenzioni nei diversi ambiti della pittura, dell'incisione, dell'affresco, del mosaico, della modellazione. Artista colto e pienamente inserito nel dibattito artistico contemporaneo, Maffioletti ha interpretato con personalità le diverse stagioni del Post-cubismo, dell'Espressionismo, della Nuova Figurazione, dell'Informale e della Post-astrazione, partecipando a numerose rassegne a livello nazionale e realizzando molti interventi di arte applicata in edifici pubblici a Bergamo (tra cui le Piscine Italcementi, La Borsa Merci, la Banca Popolare di Bergamo, il Credito Bergamasco, la Chiesa ipogea del Seminario, il Grattacielo Boschetti, i cinema San Marco e Arlecchino, il Palazzo delle Anagrafe) e in varie città d'Italia. In un allestimento concepito per sequenze cronologiche e per nuclei tematici la mostra allinea circa quaranta opere -la maggior parte delle quali inedite o mai esposte-provenienti esclusivamente dall'archivio dell'artista. L'esposizione seriatese, che si svolge contemporaneamente ad altra analoga e complementare presso la Sede Centrale del Credito Bergamasco, giunge a sedici anni di distanza dalla grande e sinora unica mostra antologica dell'artista (1997) ordinata presso la GAMeC di Bergamo da Enrico De Pascale e Vittorio Fagone. L'Amministrazione Comunale esprime gratitudine all'A.S.A.V. per la proposta culturale, al curatore Enrico De Pascale per la competenza e il rigore scientifico con cui ha operato, alla famiglia e ai parenti dell'artista -in particolare alle figlie Anna ed Elena-per avere fattivamente collaborato e messo a disposizione le opere. Si ringrazia altresì la Fondazione Credito Bergamasco per la generosità e la sensibilità con cui ha inteso sostenere questa importante iniziativa culturale.

This paper draws a parallel between the creative melodic expansion of a raaga in Carnatic music (South Indian classical music) and mathematical proof writing, grounded in the enactivist theory of emergence. I describe the creative processes involved in the melodic improvisation of a raaga and correlate it with mathematical proof writing activity. This work has been informed by reflections on my own experience both as a Carnatic performing artist and a mathematics graduate.

Tematem pracy jest przedstawienie motywu pamięci obecnego w malarstwie artysty-Janusza Tarabuły. Scharakteryzowano malarstwo materii jako nurt stylistyczny stanowiący odpowiedź na potrzebę wyrażenia traum związanych z koszmarem wojny i nowopowstałej rzeczywistości powojennej. Opisano przynależność artysty do Grupy Nowohuckiej i II Grupy Krakowskiej. Omówiono wystawę prezentowaną na Galerii XX i XXI wieku w Muzeum Narodowym w Krakowie o tytule: "Janusz Tarabuła. Pamięć." Przedstawiono sylwetkę krakowskiego artysty i charakterystykę jego prac w kontekście omawianego zagadnienia pamięci i potrzeby upamiętniania. Topic of a thesis is the presentation of the motif of memory present in the painting of the artist-Janusz Tarabuła. Matter painting is characterized as a stylistic trend that is a response to the need to express traumas related to the nightmare of war and the newly created postwar reality. The artist's affiliation with the Nowa Huta's Group and the Second Krakow Group, is described. The exhibition presented at the 20th and 21st Century Gallery at the National Museum in Krakow entitled: "Janusz Tarabuła. Memory" is discussed. The artist's profile and the characteristics of his works are presented in the context of the discussed issue of memory and the need for commemoration.

Este artigo tem como objetivo analisar elementos da inscrição do abstracionismo informal na tensão entre o moderno e o contemporâneo na historiografia da arte no Brasil. Embora parte dessa fortuna crítica identifique na abstração uma persistência por parte de alguns artistas em utilizar do paradigma moderno para responder a questões contemporâneas, outros artistas parecem aludir ao abstracionismo informal, experimentando-se e incorporando processos abstratos em outras linguagens e poéticas. Deste modo, propomos contribuir para a necessária revisão do processo de historicização do abstracionismo no Brasil a partir da reflexão sobre alguns aspectos da exposição “Oito décadas da abstração informal”, realizada em 2018 no MASP, a fim de problematizar noções sobre o abstrato na contemporaneidade. This article aims to analyze the elements of the informal abstraction inscription in the tension between the modern and the contemporary in Brazilian art historiography. Although part of the crit...

Margaret Mellis (1914-2009) is usually snagged in passing by the fishing nets of art history via her marriage to the influential aesthetician Adrian Stokes and her brief involvement in the avant-garde circles around wartime St.Ives. Nicholson and Hepworth came to stay during the war and Naum Gabo became a neighbour, and it is clear that this milieu led to her shift from painterly figuration to severe Constructivist reliefs and collages, work shown in the Tate's 1985 St.Ives exhibition and now represented in national collections. Sections of the artworld have also become interested in her late driftwood constructions, shown regularly in recent years at Austin/Desmond Fine Art in London. The period between these 1940s works and her turn to driftwood construction is now filled in for us by Andrew Lambirth's gorgeous new book, the first book-length study of the artist.