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BIBTEX RIS

construcción de un propósito a partir de los conceptos de vacío y ciudad en la escultura de Jorge Oteiza y Franz Weissmann

2014; University of the Basque Country; Volume: 2; Issue: 1 Linguagem: Espanhol

10.1387/ausart.11921

2340-8510

Bernadette Maria Panek,

Latin American Urban Studies

With the purpose of understanding the various hypotheses that encompass the concept of emp­tiness linked with the idea of receptiveness in the work and thoughts of Jorge Oteiza and in the sculptural work of Franz Weissmann, who thought of sculptures for the city, this analysis makes use of specific doc­uments. For instance, a few writings by sculptor Oteiza and some Brazilian theoreticians. For the Brazilian cultural scene of that time, it would be critical to consider, among others, the writings of Ferreira Gullar. This analysis is extensively based on the text Escultura Dinamica (Dynamic Sculpture - 1952) authored by Oteiza, whose content expands the concept of emptiness connected to theses about time, as well as to the particulars of the dynamic in sculpture. It is also encouraged by a text by Sonia Salzstein, who constructs an analysis of Weissmann´s work using the cube as a prefiguration of the city . The proposal in question attempts to relate the theories exposed here to the history of art as well as to man´s cultural and social history. It investigates these ideas starting from the cultural references inherent to every being, such as the Basque cromlechs, and the metropolises the people discussed here identified themselves with. It purports to study the connections between the concepts developed by the Basque sculptor and those developed by the Brazilian Neo-Concretists. Gullar practically drafted singlehandedly the Neo-Concretist Manifesto (1959), besides proposing the Theory of the Non-Object, working with the rupture of the planes. For the hypotheses indicated here, it would be crucial do take into consideration Proposito Experimental 1956-1957 (Experimental Purpose 1956-1957), a text sent together with Jorge Oiteiza´s sculptures to the 4 th Sao Paulo Biennial. In it Oteiza explains his work process, and elevates it to a purpose. Based on these documents, this study sets forth a few connections with the context of the city as a receptive space, or not, while quoting some concepts connected with receptiveness and emptiness, between the artists and theoreticians mentioned here, in addition to Lygia Clark, Helio Oiticica, and the poet Haroldo de Campos.