Re: [-empyre-] forward: Re: Neoconcrete (Clemente Padin)

["arteonline" <arteonline@arteonline.arq.br>]

Thank you Padín. That is it.

Regina


----- Original Message -----
From: "Jim Andrews" <jim@vispo.com>
To: "Soft_Skinned_Space" <empyre@lists.cofa.unsw.edu.au>
Sent: Monday, March 15, 2004 6:58 PM
Subject: [-empyre-] forward: Re: Neoconcrete (Clemente Padin)


> Friends,
>
> Neoconcretism: symbolic-metaphysic language. This tendency was created by
> the poet Ferreira Gullar and another artists which emerged in reaction to
> the "Objectivism of the rationalist poets of the Noigandres group, which
> tried to imitate the machine", giving way to neoconcretism of a
> metaphysical-symbolic temper that attempted the formulation of a new
syntax.
> Gullar's basic text, "Theory of the Non-Object," published in the
Supplement
> of the Jornal of Brasil (Rio de Janeiro, 1960), then to historify the
> struggle of artists against naturalistic representation of the exterior
> world, predicts the death of painting, in favor of "non-objects": "it is
not
> an anti-object, but a special object in which is attempted to realize a
> synthesis of sensory and mental experiences: a body transparent to
> phenomenological knowledge, integrally perceptible, which tends tends
toward
> pure appearance. A pure appearance". Similarly, in an interview he
affirms:
>
> "The non-object does not rest upon references of use or of sense (meaning)
> because it does not form part of the condition of utility or of verbal
> designation. The non-object is transparent to perception. It is a meaning
> immanent to its own form that is simple signification. The non-object is
not
> a representation but a concrete presence that is perceived above the real
> space of the world and not above the metaphoric ground of abstract
> expression. The verbal non-object is anti-dictionary: space where the
> isolated word irradiates its charge. The non-object demands a spectator
> (does it even have to do with a spectator?) as proper condition of its act
> of "being made" and not so much that passive boundary of its existence.
> Without a spectator the work exists only as potentiality, awaiting the
human
> gesture that actualizes it".
>
> In other words, there is established one of the basic characteristics of
the
> art of our time, the active participation of the spectator as co-creator
and
> actualizer of the work of art.
>
> Another basic concept of neoconcretism: the preeminence of time which in
its
> transpiring generated meanings in the spatial sphere: "It does not have to
> do with raising a metaphoric space in a well protected place in the world,
> and does have to do with realizing a work in real space and with giving to
> this space, by the appearance of the work--spatial object--a significance
> and a transcendence".
>
> Thus, Ferreira Gullar constitutes himself as a precursor of the so-called
> action arts, the happening, performances, environments, or installations,
> etc., much before many of those who today are relevant figures as
> practitioners of these forms. The material aspect and the discipline in
> which it is realized are irrelevant to the non-object: what matters is the
> transcendental vitality before its discovery, and that occurs in the act,
in
> duration. For the neoconcretist, the poem is a temporal entity: "it is in
> time and not in space that the word totally discovers its significative
> nature".
>
> This formulation encountered a favorable echo, and its postulates can be
> found not only in the works of Ferreira Gullar, for example, the "Buried
> Poem," realized in the quinta of another neoconcrete artist, Helio
Oiticica,
> but also in the work of numerous artists such as Ligia Clark, with her
> manipulable objects "Os Bichos" or the same Oiticica and Ligia Pape with
> their famous environments. Likewise, the movements of the "New
Objectivity"
> in Brazil and the "Non-object Poetry" of Clemente Padin (1971, Uruguay)
> recognize their influence. According to the critic Alvaro de Sá, the most
> important contributions of neoconcretism are:
>
> "a) the happening; b) the use of the body as an active element in the
> realization of the work; c) an attempt toward the interpenetration of the
> genres; d) a transference of the center of the reading of the object
towards
> its perceptive and productive aspects; and e) the participation of the
> spectator."
>
> --------------------------------------------------------------------------
--
> ----
>
> I hope could have helped in the understanding of the important movement
> "Neoconcretism" that have had an enormous influence not only in the Latin
> American art but in everybody.
>
> Fraternal greetings,
>
> Clemente
>
>
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