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拍品专文
This autumn Tate Modern, London will present an international retrospective of Mira Schendel's diverse practice, providing a full-scale survey of her paintings, drawings and sculptures. A leader in Brazil's Concrete and Neo-Concrete art movements, Mira Schendel has exhibited widely both in her native Brazil at the Pinacoteca do Estado de São Paulo and Bienal de São Paulo, as well as at prominent international institutions including a dual retrospective with Argentinean Léon Ferrari at the Museum of Modern Art, New York in 2009, and exhibitions at Centro de Arte Reina Sofía, and Kunst-und Ausstellungshalle der Bundesrepublik Deutschland, Bonn.
Comprised of five parts, Schendel's Untitled, 1980-1981, is a mature example of the artist's celebrated spatial investigations; identifiable for its experimental use of colour, which imbues a sensual, poetic feeling into her work. Each leaf of artisanal paper is adorned with gold and liquid watercolour awash in a palette of umber, chocolate brown, teal and cobalt blue. Simultaneously minimal and deeply personal, in her investigation of reductive abstracted Concrete forms, Schendel's works remain subjective, delicate, and intrinsically linked to the artist's hand. The tactile, handmade quality of the thickly textured surface is rooted in notions of home, identity, and displacement, themes informed by Schendel's own biography. Her prolific, multifarious practice began before fleeing Italy during the Second World War, and Schendel was among the great influx of European intellectual and cultural émigrés that relocated to Brazil.
Schendel's poetic, geometric forms in part link with the Neo-Concrete art movement developed in Brazil that included luminaries such as Hélio Oiticica, Lygia Clark and Lygia Pape, who created an identifiable style in the post-war Brazilian art world in reaction to international Constructivism. Distinguishing herself from her contemporaries, it is the individual and lyrical element of Schendel's work that stands in direct contrast to the rigid geometry of the Concrete artists. Attesting to the artist's unique stance, Tanya Barson, curator of the Tate, describes: 'she's on the periphery; you can't call it Concrete art, [Schendel] was interested in geometric abstraction, but the abstraction in her work is a different kind. She is offering an alternate paradigm; she establishes an alternative line, to do with being and ontology, through a minimal, precarious gesture - a kind of softness A slight gesture can be powerful' (T. Barson, quoted in H. Williams, 'The woman in black: Mira Schendel is finally bursting on to the British art scene', The Independent, 31 August 2013).
To create the deliberately hand-made aesthetic of the circles, diamonds and squares that adorn the surfaces of Untitled, Schendel used a highly unique and personal process whereby she spread oil on glass, covered it with talcum powder and then lightly pressed the textured paper on to it. The artist then marked the paper, sometimes with her fingernails, so the tint would bleed through and create the intentional imperfections of the hand-made. In Untitled, Schendel has added to her palette gold leaf, a colour with metaphysical symbolism, in order to emphasise the delicacy of line offering a textural juxtaposition with the luxuriantly tactile artisanal paper ground. Schendel described these delicate works as an 'attempt to immortalise the fleeting and to give meaning to the ephemeral' (T. Barson, quoted in H. Williams, 'The woman in black: Mira Schendel is finally bursting on to the British art scene', The Independent, 31 August 2013).
Comprised of five parts, Schendel's Untitled, 1980-1981, is a mature example of the artist's celebrated spatial investigations; identifiable for its experimental use of colour, which imbues a sensual, poetic feeling into her work. Each leaf of artisanal paper is adorned with gold and liquid watercolour awash in a palette of umber, chocolate brown, teal and cobalt blue. Simultaneously minimal and deeply personal, in her investigation of reductive abstracted Concrete forms, Schendel's works remain subjective, delicate, and intrinsically linked to the artist's hand. The tactile, handmade quality of the thickly textured surface is rooted in notions of home, identity, and displacement, themes informed by Schendel's own biography. Her prolific, multifarious practice began before fleeing Italy during the Second World War, and Schendel was among the great influx of European intellectual and cultural émigrés that relocated to Brazil.
Schendel's poetic, geometric forms in part link with the Neo-Concrete art movement developed in Brazil that included luminaries such as Hélio Oiticica, Lygia Clark and Lygia Pape, who created an identifiable style in the post-war Brazilian art world in reaction to international Constructivism. Distinguishing herself from her contemporaries, it is the individual and lyrical element of Schendel's work that stands in direct contrast to the rigid geometry of the Concrete artists. Attesting to the artist's unique stance, Tanya Barson, curator of the Tate, describes: 'she's on the periphery; you can't call it Concrete art, [Schendel] was interested in geometric abstraction, but the abstraction in her work is a different kind. She is offering an alternate paradigm; she establishes an alternative line, to do with being and ontology, through a minimal, precarious gesture - a kind of softness A slight gesture can be powerful' (T. Barson, quoted in H. Williams, 'The woman in black: Mira Schendel is finally bursting on to the British art scene', The Independent, 31 August 2013).
To create the deliberately hand-made aesthetic of the circles, diamonds and squares that adorn the surfaces of Untitled, Schendel used a highly unique and personal process whereby she spread oil on glass, covered it with talcum powder and then lightly pressed the textured paper on to it. The artist then marked the paper, sometimes with her fingernails, so the tint would bleed through and create the intentional imperfections of the hand-made. In Untitled, Schendel has added to her palette gold leaf, a colour with metaphysical symbolism, in order to emphasise the delicacy of line offering a textural juxtaposition with the luxuriantly tactile artisanal paper ground. Schendel described these delicate works as an 'attempt to immortalise the fleeting and to give meaning to the ephemeral' (T. Barson, quoted in H. Williams, 'The woman in black: Mira Schendel is finally bursting on to the British art scene', The Independent, 31 August 2013).