dimensional works made of knotted rice paper she had intertwined by hand. She thought of them as ephemeral sculptures—not meant to last—and called them Droguinhas (literally “little drugs”), a Brazilian slang expression that means “Nothing” or indicates something worthless. This formless network of twisted cords evokes the act of weaving and can be placed horizontally or vertically. A trained philosopher and poet, Schendel used her art to address existential questions and to subvert the traditional hierarchies between artistic mediums.
New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions
November 21, 2007–February 25, 2008
Schendel, one of the major figures of postwar Brazilian art, was a painter, printmaker, and draftsman. A trained philosopher and poet, she used her art to address existential questions and to subvert the traditional hierarchies between artistic mediums. Particularly significant was her interest in the materiality of writing as a visual feature.
Around the mid-1960s, Schendel produced a series of three-dimensional works that she thought of as ephemeral sculptures. She called them Droguinha, or "little drug," a slang expression that signifies "nothing" or "something worthless." Like this one, they are composed of knotted rice paper that Schendel intertwined by hand. The formless network of twisted cords evokes the act of weaving and can be placed horizontally or vertically. Neutralizing the tension between figure and support, material and meaning, Droguinha represents a radical artistic example of void or absence materialized as a metaphysical fullness.
dimensional works made of knotted rice paper she had intertwined by hand. She thought of them as ephemeral sculptures—not meant to last—and called them Droguinhas (literally “little drugs”), a Brazilian slang expression that means “Nothing” or indicates something worthless. This formless network of twisted cords evokes the act of weaving and can be placed horizontally or vertically. A trained philosopher and poet, Schendel used her art to address existential questions and to subvert the traditional hierarchies between artistic mediums.
New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions
November 21, 2007–February 25, 2008
Schendel, one of the major figures of postwar Brazilian art, was a painter, printmaker, and draftsman. A trained philosopher and poet, she used her art to address existential questions and to subvert the traditional hierarchies between artistic mediums. Particularly significant was her interest in the materiality of writing as a visual feature.
Around the mid-1960s, Schendel produced a series of three-dimensional works that she thought of as ephemeral sculptures. She called them Droguinha, or "little drug," a slang expression that signifies "nothing" or "something worthless." Like this one, they are composed of knotted rice paper that Schendel intertwined by hand. The formless network of twisted cords evokes the act of weaving and can be placed horizontally or vertically. Neutralizing the tension between figure and support, material and meaning, Droguinha represents a radical artistic example of void or absence materialized as a metaphysical fullness.
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dimensional works made of knotted rice paper she had intertwined by hand. She thought of them as ephemeral sculptures—not meant to last—and called them Droguinhas (literally “little drugs”), a Brazilian slang expression that means “Nothing” or indicates something worthless. This formless network of twisted cords evokes the act of weaving and can be placed horizontally or vertically. A trained philosopher and poet, Schendel used her art to address existential questions and to subvert the traditional hierarchies between artistic mediums.
New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions
November 21, 2007–February 25, 2008
Schendel, one of the major figures of postwar Brazilian art, was a painter, printmaker, and draftsman.นักปรัชญากวีและการฝึกอบรมศิลปะของเธอ เธอเคยอยู่ที่คำถาม existential และล้มล้างชนชั้นดั้งเดิมระหว่างสื่อศิลปะ โดยเฉพาะอย่างยิ่งที่สำคัญคือความสนใจของเธอในสาระสำคัญของการเขียนเป็นคุณลักษณะที่เป็นภาพ
รอบช่วงกลางทศวรรษที่ 1960 , schendel ผลิตชุดของงานสามมิติที่เธอคิดว่าเป็นรูปปั้นไม่ยั่งยืน เธอ droguinha เรียกพวกเขา ,หรือ " ยาน้อย " การแสดงออกแสลงว่า หมายถึง " อะไร " หรือ " สิ่งที่ไร้ค่า " แบบนี้ พวกเขาจะประกอบด้วยตะปุ่มตะป่ำกระดาษข้าวที่ schendel สานด้วยมือ เครือข่าย หมายถึง สายไฟบิด - พระราชบัญญัติของการทอผ้า และสามารถวางในแนวนอนหรือแนวตั้ง neutralizing ความตึงเครียดระหว่างรูปและสนับสนุนวัสดุและความหมายdroguinha หมายถึงตัวอย่างศิลปะการโมฆะหรือขาดการพัฒนาอย่างไพบูลย์ เลื่อนลอย
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