Domus

SHAPES OF THE VOID

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In the nineteenth century with the advent of teletechno­logies (telephone, telegraph, etc.) bodiless communicat­ion came into being. A message could be sent without the body of a messenger. With this technology of the immaterial an aesthetic of absence entered art. Painters dreamed of white pictures and empty canvases, of images of nothing, which would only be encased by a frame, and of the spread of the void to the three-dimensiona­l colour space in the form of an empty, white-painted space. Modern sculpture first abandoned the body and then volume and mass. “A solid is a lie about the essence of the sculpture” (Katarzyna Kobro, 1929).

ARTISTS: Attila Csörgő – Sinje Dillenkofe­r– Pieter Engels – Barry Flanagan – Mathias Goeritz – Tue Greenfort – Edgar Gutbub – Robert Jacobsen – Gordon Matta-Clark – Ana Mendieta – Henry Moore – Goran Petercol – Àngels Ribé – Pietro Sanguineti – Natalia Stachon – Bernar Venet – Carel Visser – Martin Walde – Erwin Wurm

 ??  ?? This spread, clockwise from top: Mariana Castillo Deball, Trópico, para qué me diste las manos llenas de color?, 2011; Papiermâch­é, aluminum wire, laser prints; Courtesy Galerie Barbara Wien, Berlin [Exhibition chapter: Suspended Sculptures]; Installati­on view, atrium 2, Signature Works From L-R: Henry Moore, Sculptural Object, 1960; bronze; Arts Council Collection, Southbank Centre, London Barbara Hepworth, Porthmeor (Sea Form), 1958; bronze; Collection Gemeentemu­seum Den Haag. The Hague, The Netherland­s Hans Arp, Stern [Star], 1956/1976; bronze, hollow casting; Stiftung Arp e.V., Rolanswert­h/Berlin; Installati­on view, atrium 2, Signature Works
In the foreground: Anthony Caro, Emma Push Frame, 1977/1978; rusted and blackened steel, 7 pieces; Sammlung Würth; Richard Serra, Siamese, 1988; rolled steel, 2 triangular steel plates; Private Collection. Courtesy Bochum Kunstvermi­ttlung [Exhibition chapter: From Plane to Space] (Photos:
Tobias Wootton)
This spread, clockwise from top: Mariana Castillo Deball, Trópico, para qué me diste las manos llenas de color?, 2011; Papiermâch­é, aluminum wire, laser prints; Courtesy Galerie Barbara Wien, Berlin [Exhibition chapter: Suspended Sculptures]; Installati­on view, atrium 2, Signature Works From L-R: Henry Moore, Sculptural Object, 1960; bronze; Arts Council Collection, Southbank Centre, London Barbara Hepworth, Porthmeor (Sea Form), 1958; bronze; Collection Gemeentemu­seum Den Haag. The Hague, The Netherland­s Hans Arp, Stern [Star], 1956/1976; bronze, hollow casting; Stiftung Arp e.V., Rolanswert­h/Berlin; Installati­on view, atrium 2, Signature Works In the foreground: Anthony Caro, Emma Push Frame, 1977/1978; rusted and blackened steel, 7 pieces; Sammlung Würth; Richard Serra, Siamese, 1988; rolled steel, 2 triangular steel plates; Private Collection. Courtesy Bochum Kunstvermi­ttlung [Exhibition chapter: From Plane to Space] (Photos: Tobias Wootton)
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