12/26/2023 0 Comments Invisible sculpture andy warholThis reached its ultimate expression in an exhibition called The Void, in which every surface of the gallery was painted white. Their idea was to create walls and ceilings from jets of air, so that “humanity could live in a state of grace, free from concealments and secrets”. Klein would also collaborate with a variety of architects and engineers in a utopian vision like no other: air architecture. He was accompanied in this adventure by Jean Tinguely, and as the two strolled along the banks of the Seine, they conceived the idea of making air sculptures. Klein’s obsession with exploring the invisible world would in time extend to all three dimensions. Where common mortals saw only white walls, Klein perceived the presence of «a pictorial sensibility in its raw form» (literally). It was in the year 1957 that Klein held an exhibition in the Paris’s Collete Allendy Gallery consisting basically of empty rooms. The show opens with Yves Klein, unanimously considered to be the father of modern invisible art, together with Robert Rauschenberg and taking the torch from Marcel Duchamp (the first to put his signature on a sculpture of air contained in a bottle). That’s the great virtue of this type of art, that each person sees what he or she wants to see”. The listener becomes something more than a spectator and in some way participates in the creative process. When you listen to a radio program, the characters are in your head. “It’s like the power of radio, compared to television. “The best thing about invisible art is that it leaves so much to the imagination”, says Rugoff straightforwardly. The idea that art is something which is discerned or observed is here a thing of the past. But Ralph Rugoff, curator of Invisible: Art about the Unseen (1957-2012), assures us that our investment is not wasted, as we have before us nothing less than the unseen. Of seeing, as we know it, there is little (especially for the ticket price of 10 euros). “Raise your hand to the evening light / and watch it until it becomes transparent / and you see the sky and the trees through it…” Even Yoko Ono’s instructions for blank painting: And the empty plinth supporting the aura of Andy Warhol. And the canvas upon which the snails of Bruno Jakob have left their slimy trails. As well as the invisible ink drawings of Gianni Motto, which disappeared a few minutes after they were made. Here we have Playboy centerfolds erased by the ineffable Friedman until they are unrecognizably blank. We’re at the exhibition of the moment in London’s Hayward Gallery, a stone’s throw from the Tate Modern, where swims Damien Hirst’s shark in formaldehyde, a fearsome, tangible vestige of conceptual art from the days when we could still see it… This is what is called «invisible» art and it’s no joke. The work is titled 1,000 Hours of Staring, and its merit comes from the five years its creator, Tom Friedman, spent staring stoically at its empty surface. One has to rub one’s eyes vigorously (and scratch one’s head) to appreciate the artistic value of a blank sheet of paper. A gallery in London revisits the invisible works of modernism.ĬARLOS FRESNEDA, London correspondent of El Mundo, 13 June, 2012
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