On a platform that takes the place of pedestals, bases, and stage, a selection of historic signature works is on show. The spatial design of the platform is the result as well as an application of algebraic operations, or geometria situs: two basic elements, the square and the circle, overlap, and form intersections of Boolean algebra. Here positive and negative forms (sections) stand complementarily to each other. By showing a selection of important and significant exhibits, the signature works assembled on the platform and in the Atrium offer a condensed overview of the categories of negative space presented in the exhibition.
ARTISTS: Hans Arp, Stern, 1956/1976 – Rudolf Belling, Raumkurve, 1958 – Max Bill, Einheit aus drei gleichen Teilen, 1968/1969 – Alexander Calder, Many back from Rio, 1948 – Anthony Caro, Emma Push Frame, 1977/1978 – Marcel Duchamp, Porte Gradiva, 1937/ [reconstruction] 2013 – Naum Gabo, Construction in Space (Crystal), 1937–1939 – Naum Gabo, Kinetic Construction (Standing Wave), 1919/1920, [reconstruction] 2019 – Naum Gabo, Model for ‘Constructed Torso’, 1917/1981 – Barbara Hepworth, Porthmeor (Sea Form), 1958 – Anish Kapoor, Monochrome (Majik Blue), 2016 – Edward Krasiński, Untitled, 1965 – Norbert Kricke, Raumplastik Weiß-Blau-Rot, 1954 – Piero Manzoni, Corpo d’aria n. 44, 1959/1960 – Lázszló Moholy-Nagy, Lichtspiel schwarz-weiss-grau, 1922–1930 – Henry Moore, Sculptural Object, 1960 – Bruno Munari, Konkav-Konvex, 1949 – Bruno Munari, Negativopositivo a tre dimensioni 6/8, 1956/1990 – Antoine Pevsner, Construction spatiale aux 3ème et 4ème dimensions, 1961 – Man Ray, Abat-jour, 1919/1964 – Alexander Rodchenko, Hängende Raumkonstruktion Nr.9: Kreis im Kreis, 1920/1921, [reconstruction] 1993 – TAKIS, Porte Magnétique, 2003 – Jean Tinguely, Constante (No. 6), 1955–1959 – Giuseppe Uncini, Finestra con Ombra, 1968 – Georges Vantongerloo, Transformer la lumière en couleur (gv 263), 1959 – Georges Vantongerloo, Rapport de trois Volumes dans l’Espace, 1945
ON THE DISTRIBUTION OF FORM AND VOLUME IN A PICTURE
[Über Formen und Massenvertheilung im Bilde] — Adolf Hölzel, 1901
When reproducing nature or depicting ideas in a picture, we are first and foremost dependent on the two-dimensional, surface area (e.g., canvas, paper) to which we shall transfer the representations of threedimensional nature. […]
Instead of the geometric term “plane,” I shall employ the commonly used term “surface area,” and because the planar figures represent threedimensional forms when rendered on the surface area, for brevity’s sake I shall employ the term “form” instead of “planar figure” with reference to painting […].
(Therefore), we not only have to pay attention, for example, to the forms of objects and individuals and the volumes that come into being through grouping them, at the same time we must also be mindful of the interspaces and their forms, which inevitably arise from assembling groups of objects and individuals.
By accentuating an accompanying form more strongly we compel the gaze in its direction and thus have an artistic device at our disposal, for example, to divert attention away from objects or other things when these appear too obtrusive to us. In this context, we must be especially aware of the forms of the interspaces that characterize the objects and their details, as well as utilise them appropriately. […]