AMILCAR DE CASTRO
Untitled, 1952
Wood
18 7/8 x 15 3/4 x 12 1/4 inches (47.9 x 40 x 31.1 cm)
‘Brazil: Reinvention of Modern’ at Gagosian Gallery The Gagosian Gallery in Paris presents an exhibition of Brazilian art from the ‘NeoConcretists’ period, with works by Sergio Camargo, Amilcar de Castro and Mira Schendel, among others.
28 September – 5 November, 2011
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Source: Gagosian Gallery / theartwolf.com
In the late 1950s, the Brazilian “NeoConcretists” advocated the use of abstracted corporeal forms, sensuality, subjectivity, and color, reacting against the dogma of the Concrete Art movement of the 1930s that was predicated on non-representational geometric shapes, mathematical formulas, and grids.
This sensuality is evident in Amilcar de Castro’s “Untitled” (1952). References to organic form can be found in Sergio Camargo’s Orèe (1964) and Untitled (1960).
Explaining the “radical nature” of NeoConcrete art, the press release says that “NeoConcretists saw works of art as living organisms, and thus encouraged fabrication without the use of a frame or artificial support to bring art into real space and direct contact with viewers”.
The exhibition -designed is by Paris-based architect and designer India Mahdavi- is accompanied by a catalogue that includes an essay by Brazilian curator Paulo Venancio Filho.
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