AVANT-GARDE PROTOTYPES

Katarzyna Kobro. Kompozycja przestrzenna (4) [Spatial composition (4)], 1929. Oil and metal 40 x 64 x 40 cm. Muzeum Sztuki, Lódz.

 

 

Wladyslaw Strzeminski (Minsk, November 21, 1893-Lódz, December 28, 1952) was a renowned Polish avant-garde artist. Towards the decade of the 1920s he built his particular theory of "unism" which was of great help to musician and composer Zygmunt Krauze. He also stands out as co-creator of the avant-garde art collection of "Lord" collected by the "a.r" collective. After the war he dedicated himself to teaching, teaching plastic arts and design.

 

 

Photo of Wladyslaw Strzeminski and Katarzyna Kobro

 

 

Katarzyna Kobro (January 26, 1898 in Moscow - February 21, 1951 in Lódz) The other half of this duo was a Polish sculptress of Latvian, Russian and German origin. Her great strength was to embrace constructivism, leaving aside such currents as individualism, subjectivism or expressionism. Its most marked objective was always the construction of the abstract work cemented on the pillars of experimentation and analysis. Her sculpture conceptualizes the infinite space, taking as reference the origin of the system by coordinates.

 

 

Work of Wladyslaw Strzeminski

 


At the beginning of the twentieth century, both married and created the perfect symbiosis to materialize their concept of art in those circumstances. A revolution was being woven and they wanted to be part of it. With this exhibition, his curator, Jaroslaw Suchan, director of the Muzeum Sztuki w ?odzi and in collaboration with the Polish Institute of Culture of Madrid want to make known the work of these two lovers of neoplasticism, the Bauhaus and constructivism, movement of which they are Considers precursors in Poland.

 

 

Wladyslaw Strzeminski, Neoplastic Room, Muzeum Sztuki in Lódz, Poland, 1946 #lodz

 

 

Radicalization and transgression are his personal trademarks and for this reason, with the "Avant-garde Prototypes" the Reina Sofía Art Center Museum together with the Muzeum Sztuki w Lodzi and Museum have hosted this great exhibition that can be enjoyed until September 18, 2017 in The Sabatini Building.

 

 

 

One of the purposes of the “Art Madrid-Proyector’20” program was to offer the opportunity to get to know the work of some invited creators, and, through an interactive talk, allow the public to open a direct dialogue with them. For this reason, from February 12th to 14th, were organised three masterclasses at Medialab Prado with Patxi Araújo, Olga Diego and Lois Patiño, all authors who work with the moving image, but who approach their projects from a diametrically opposite perspective. With this agenda, we were able to discuss three essential lines of current video-creation: the fusion with technology and artificial intelligence, the shaping of performances for documentary purposes and video art with film overtones. We already had the opportunity to remember the session with Patxi Araújo and his site-specific work "Sherezade" created for the Medialab Prado façade. Today we will talk about the meeting we had with Olga Diego and Lois Patiño.

Olga diego, photo by Javier Adiego

Olga Diego’s masterclass has as title: “The flight as a creative matter”. Olga is a multidisciplinary artist who in recent years has focused her work on sculpture and performance or action art, which she later documents with photography and video. This last aspect is one of the most interesting for her when she reflects on how the transformation of the piece from an experiential format to a recorded one takes place, and how individuals have become used to consuming this class of less invasive final products, from a space of comfort that our private devices offer.

One of Olga's main lines of research is related to autonomous flight systems and the creation of artefacts capable of rising with little energy. Can one create a material lighter than air itself? This idea has led her to experiment with numerous scientific forms and concepts, as well as taking a historical journey through the beginnings of flight and the progress of humanity to invent devices capable of flying. It is not just about recovering the history of aviation, something that has a much more technological and commercial side, but to investigate the ideas, experiments and tests that analysed the behaviour of air, the dynamics of flows and the design of individual aerodynamic structures, a concern that the human being showed since the Renaissance, with Leonardo Da Vinci.

Olga Diego, photo by Mario Gutiérrez Cru

Olga recovers many of these concepts and applies them to her recent projects. In her latest proposals, she has also worked with inflatable figures, as an alternative to conducted flight, using plastic materials for its construction. Her last exhibition “The automatic garden”, which could be enjoyed at the Alicante Museum of Contemporary Art and the Lonja del Pescado Exhibition Hall, also in Alicante, is a gigantic installation made up of almost a hundred inflatable-electronic sculptures inspired by the beautiful, extravagant and suggestive characters from the Garden of Earthly Delights, by El Bosco. This cloud of humanoid and zoomorphic figures, which move and beat thanks to the electronic mechanisms that keep them permanently inflated, also portrays the excesses of man, his lack of concern for the invasion of the environment, the overexposure to plastic and the exploitation of natural resources. A composition that focuses on "sin", as an indirect message that was also conveyed in the work of El Bosco.

Masterclass of Lois Patiño. Photo by Marta Suárez-Mansilla

For his part, Lois Patiño's career is intimately connected to film work. “Time and image” was the title of his masterclass. His video pieces, whether brief or feature-long films contain a concern closely linked to film language, but on a path that leaves conventional narratives aside. Among the main motifs that occupy his work, Lois opts for more contemplative aesthetics, where the expressive power of the image itself is prioritised, without seeking too many added effects in conventional cinema through sound effects, dialogues or other devices.





This is why Lois's work is so poetic and lyrical. His proposals incorporate technological innovations to cause very concrete effects in his works, but all of this helps to delve into the issues that concern this creator and that, since his beginnings, have been present in his work.

Lois Patiño, foto de Mario Gutiérrez Cru

Lois Patiño has always been interested in the relationship of the individual with the landscape and how it can modulate our way of behaving in society and determine our idiosyncrasy. To what extent are we dependent on our environment? How is culture defined by its connection to the landscape? These and other questions plague the author's work in which many contemplative images abound.

In addition, Lois presented us in scoop the trailer for his latest feature-long film "Lúa vermella" that a few days after the masterclass was officially presented at the Berlinale - International Film Festival in Berlin 2020.