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


[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. […]

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