Jesús Rafael Soto
- Size 23 x 27,5 cm
- Pages 110
- Illustrations 48 a colori, 40 in b/n
- Language Italian, English
- Year 2006
- ISBN 9788836607907
- Price € 20,00
- Not available
Abstract
Il volume accompagna la mostra che la Galleria d’Arte Moderna e Contemporanea di Bergamo dedica a Jesús Rafael Soto, artista venezuelano recentemente scomparso (Ciudad Bolivar, 1923 - Parigi, 2005), considerato uno dei grandi esponenti dell’arte cinetica.
Questo movimento artistico, nato nella metà del XX secolo, pone al centro della sua ricerca il movimento, reale o virtuale, creato a partire dagli effetti ottici, dal moto dello spettatore o dal movimento reale dell’opera.
Cento opere, che spaziano dai primi lavori degli anni cinquanta fino all’opera Penetrable Azul del 1999, consentono di ripercorrere l’intero sviluppo della ricerca di Soto sul movimento: l’interesse dell’artista si concentra non tanto sui modi di attribuire un moto alle sue creazioni, quanto di intervenite sulla possibilità di interazione dello spettatore nell’opera fino a farlo diventare parte integrante della stessa, attraverso una combinazione di forme, colori e spazio.
Il catalogo accoglie i testi critici di Tatiana Cuevas e Paola Santoscoy, un’intervista di Hans Ulrich Obrist all’artista, e apparati bio-bibliografici.
Bergamo, ottobre 2006 - febbraio 2007
Jesús Rafael Soto was a sculptor and painter and is most famous for his op art and kinetic art works. His early influences were Cubism, Cézanne and Mondrian and he became worldfamous as a kinetic sculptor. Soto is particularly well known for his penetrables, interactive sculptures which consist of square arrays of thin, dangling tubes through which observers can walk.
It has been said of Soto's art that it is inseparable from the viewer; it can only stand completed in the illusion perceived by the mind as a result of observing the piece.
The catalogue presents a selection of representative works of the artist’s aesthetic investigations from the 1950s to the late 1990s. The pieces represent the outcome of a process of experimentation that led Soto to expand twodimensional surfaces into three-dimensional space in order to broaden the possibilities of interaction with the viewer, who would thus form part of a new visual situation. The selection of works follows two parallel lines in Soto’s work.
The first corresponds to his relationship with music through the abstraction of chromatic units used as compositional elements; the second involves the alteration of the everyday experience of space through confrontation with these works.
Bergamo, October 2006 - February 2007