Upcoming Exhibition

Expochicago 19-22 september 2019

Victor Vasarely. Uyte 1991

Victor Vasarely
Uyte, 1991
Acrylic on canvas
180 x 180 cm
78.7 x 78.7 in

Kinetic art is one of the major artistic trends, which browses all throughout the XXth Century and still demonstrates itself vigorously today. Its development occurred in the 1950s in France, mainly through the works of painters from various horizons, but all claiming their attachment to Abstraction and concerned with the questions of forms and perceptions. The first, Victor Vasarely, a Frenchman originally from Hungary, played a key role with his research work about structures, modules, contrasts and the visual kinetic effects resulting therefrom. Then came Luís Tomasello from Argentina and Jesús Rafael Soto and Carlos Cruz-Diez from Venezuela. While settled in Paris at the time, they all placed themselves in the wake of Piet Mondrian and Geometry, with a view to control the visual language. Tomasello favors the relief, organizes regular structures made of modules, and looks for the variation of the light brought in by the orientation of the facets of its elements and the modulation of its color, solely perceptible by their reflection on the surface of the work. Wanting to translate the instability of representation, Soto, on his part, is using structures with two plans stacked in space, one transparent made of Plexiglas, the plans causing effects of virtual vibrations. Cruz-Diez, as for him, is interested in the diffusion of the color and its visual transformation with relief works made of thin vertical colored slats that allow color to move and vibrate in the spectator’s eye.

Serge Lemoine
Professor Emeritus at La Sorbonne University of Paris.

Booth number at the fair: 442

Located in the Wynwood Arts District, O. Ascaso Gallery presents a number of mid-career to established artists from around the world with an emphasis on contemporary art.

Upcoming Exhibition

  • Ascaso Gallery November 21 – January 31

    1325 NE 1st Ave
    Miami FL 33132

    Julio Larraz Solo Exhibition

    Behind the curtain of dreams

    Fifteen years ago I left Julio Larraz in the moon, in a special pictorial space he presented in Italy. It has been a long time for both of us and we met again here on Earth, I came down after being near the silver craters, like Astolfo, who went to recover his mind and give it back to Orlando. We went and came with the same stuff, a sheet drawn out from the streets of Naples, we certainly chose a plausible solution to an unlikely statement, however poetic. On the other hand, we spent more words musing over a painting than just looking at it, seeking the meaning of a beautiful sculpture that just listening to it. It is always useful to rationalize, to show the right way to a deliberate action that cannot, that must not escape schemata. Thus, for instance, The Curator (p. 14), configured by Larraz, appears both hieratic and faceless—the former equivalent to the latter—facing the great shunga in which the embrace probably reminds the relationship between the critique and the artist; and it is not at all easy to determine who does what. In front of the work, interrupting it, standing still on a pedestal reminiscent of an ecclesial pulpit, ready to start an anonymous, irrelevant sermon, like a lay clergyman of a religion with its rituals and mythologies.

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