Car­los Cruz Diez

All the cities in the World

Gervois - - Editorial Content -

Car­los Cruz-Diez in front of his work Cro­moestruc­tura [Chro­mostruc­ture], 2015, Ed­i­fi­cio Kenex Plaza, Obar­rio
 Panama, Re­pub­lic of Panama.
 North Fa­cade: 9,36 x 42,5 m (31 x 139 ft.); West Fa­cade: 9,36 x 36,25 m (31 x 119 ft.) © Photo: Ar­ti­cruz / Rafael Guil­lén © Adagp, Paris 2018

Born in 1923, Car­los Cruz Diez is a Franco-Venezuelian ma­jor artist of the XXth and XXIst cen­tury. He first went to Eu­rope in 1955 and lived in El Mas­nou (Cataluña, Spain), where he be­gan a defin­ing phase in his ca­reer, cre­at­ing his ear­li­est ab­stract com­po­si­tions (Parén­quimas) and his first Ob­je­tos Rít­mi­cos Móviles [Mo­bile Rhyth­mic Ob­jects]. He vis­ited Paris that same year, where he saw the Le Mou­ve­ment ex­hi­bi­tion at the Ga­lerie Denise René. In 1956 he quit pro­duc­ing fig­u­ra­tive so­cial protest paint­ing and re­turned to Venezuela, where he opened the Es­tu­dio de Artes Visuales, a vis­ual arts stu­dio for graphic and in­dus­trial de­sign. It was dur­ing that pe­riod that Car­los Cruz-Diez started de­vel­op­ing the con­cep­tual plat­form for his work based on op­ti­cal and chro­matic phe­nom­ena, a process that led to the cre­ation of his first Color Adi­tivo [Ad­di­tive Color] and Fisi­cromía 1, in 1959. He and his fam­ily set­tled in Paris in 1960, where he met and dis­cussed his ideas with in­ter­na­tional artists such as Agam, Tinguely, Soto, Buri, Picelj, Morel­let, Ca­margo, Ly­gia Clark, Le Parc, Calder, and Vasarely.

Car­los Cruz-Diez ar­tic­u­lated his ex­plo­ration of the phe­nom­e­non of color in eight projects: Couleur Ad­di­tive [Ad­di­tive Color], Physichromie, In­duc­tion Chro­ma­tique [Chro­matic In­duc­tion], Chro­moin­t­er­férence [Chromo-In­ter­fer­ence], Tran­schromie, Chro­mosat­u­ra­tion, Chro­mo­scope, and Couleur à l’Es­pace [Color in Space]. His works present color as an au­ton­o­mous re­al­ity that evolves in space and time, un­aided by form or sup­port, in a per­pet­ual present. In the late 1960s, he pro­duced a num­ber of in­stal­la­tions for ur­ban land­scapes in Cara­cas, Mi­ami, Wash­ing­ton, Hous­ton, Paris, Seoul, Sao Paulo, Panama, and Madrid, among other met­ro­pol­i­tan ar­eas. He is rec­og­nized as one of the great­est artists and in­no­va­tors of the XXth and XXIst cen­tury.

“Through my re­search I try to find non­tra­di­tional solutions to the per­cep­tion of the chro­matic world and to art con­cept. I’m a re­searcher and from a very early age, I have al­ways thought art is com­mu­ni­ca­tion. The artist does not only have to make pieces for col­lec­tions and mu­se­ums, but also to be present in ur­ban spa­ces and in any en­vi­ron­ment that im­plies a col­lec­tiv­ity.” - Car­los Cruz Diez

“I be­lieve that a piece of art integrated in the city or habi­tat, has to gen­er­ate un­prece­dented events, which are in per­ma­nent evo­lu­tion. It is a way to ex­tend its “call and read­ing” in time, cre­at­ing a cir­cum­stance that dif­fer­en­ti­ates it from the util­i­tar­ian ob­ject of ur­ban fur­ni­ture. The pieces I make for the habi­tat and ur­ban sur­round­ings are con­ceived as a plas­tic dis­course gen­er­ated in real time and space, cre­at­ing “sit­u­a­tions” and “chro­matic events” that change the dia­lec­tics be­tween the ob­server and the art­work. My works do not with­hold a “ref­er­en­tial speech”, like Gothic art, the Re­nais­sance or even Mex­i­can mu­ral­ists did. They are raised from a dif­fer­ent start­ing point, where real time and space re­place re­fer­ral or trans­posed time.” - Car­los Cruz Diez

“They are sup­ports of events that change and evolve. My art­works are “re­al­i­ties” and “au­ton­o­mous sit­u­a­tions”. “Re­al­i­ties”, be­cause the events take place in time and space, and “au­ton­o­mous” be­cause they don’t de­pend on anec­dotic con­tent that the viewer is ac­cus­tomed to see in art. They are pieces that al­low us to es­tab­lish a dif­fer­ent re­la­tion to knowl­edge. The au­di­ence dis­cov­ers their ca­pac­ity to create or de­stroy color through their own per­cep­tive ways. They dis­cover “color in the making”, surg­ing and dis­ap­pear­ing be­fore their own eyes.” - Car­los Cruz Diez

Am­bi­entación de Color Adi­tivo [Ad­di­tive Color En­vi­ron­ment], 1974
 Simón Bolí­var In­ter­na­tional Air­port
 Mai­quetía (Cara­cas), Venezuela, 1974 - 270 x 9 m (886 x 30 ft.)
 Ar­chi­tects: F. Mon­temayor, L. Sully © Photo: Ate­lier Cruz-Diez Paris © Adagp, Paris 2018

Pla­fond Physichromie [Ceil­ing Physichromie], 1980 Pas­sen­ger plat­form at the rail­way sta­tion Sain­tQuentin-en-Yve­linesFrance
 (Paris),104 x 7,20 m (341 x 24 ft.) Ar­chi­tect: R. Moro © Photo: Ate­lier Cruz-Diez Paris © Adagp, Paris 2018

Am­bi­entación Cromática [Chro­matic En­vi­ron­ment], 1977-1986 Simón Bolí­var Hy­dro­elec­tric Sta­tion, En­gine Room n°1
 Guri, Venezuela
26 x 260 x 23 m (85 x 853 x 75 ft.) Engi­neers: H. Roo, A. Gam­boa, E. Car­rera, G. Chavarri © Photo: Ate­lier Cruz-Diez Paris © Adagp, Paris 2018

En­vi­ron­nement Chro­ma­tique, 2014
 OneCi­tyCen­ter’s Cov­ing­ton & Burl­ing LLP hall build­ing Wash­ing­ton, D.C., United States
 2 Physichromies of 370 x 305 cm and 461 x 380 cm
 1 Tran­schromie of 200 x 3460 cm
 Ar­chi­tect: Debra Lehman-Smith (LSM) © Photo: Ate­lier Cruz-Diez Paris © Adagp, Paris 2018 This ar­ti­cle has been pub­lished in part­ner­ship with UN­FOLD Art Ex­change and the Ate­lier Cruz Diez. Spe­cial thanks to Rachel Rekkab and Car­los Cruz Del­gado.

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.