{"id":46364,"date":"2014-07-02T06:02:50","date_gmt":"2014-07-02T04:02:50","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=46364"},"modified":"2020-01-20T10:37:13","modified_gmt":"2020-01-20T09:37:13","slug":"josef-albers-medios-minimos-efecto-maximo","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/josef-albers-medios-minimos-efecto-maximo\/","title":{"rendered":"Josef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: Minimal Means, Maximum Effect"},"content":{"rendered":"

\"\"<\/a>
Josef Albers<\/span>
Homenaje al cuadrado: Protegido, 1952<\/span>
\u00a9 The Josef and Anni Albers Foundation\/VEGAP, Madrid, 2014<\/span><\/figcaption><\/figure><\/p>\n

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo<\/em> es la primera retrospectiva dedicada a Josef Albers (1888-1976) en Espa\u00f1a. Compuesta por m\u00e1s de un centenar de obras y otras piezas \u2012 mobiliario, objetos, fotograf\u00edas y diverso material documental\u2012 la muestra ha sido concebida y desarrollada durante los \u00faltimos a\u00f1os en colaboraci\u00f3n con The Josef and Anni Albers Foundation (Bethany, Connecticut).<\/p>\n

El hilo conductor de esta exposici\u00f3n no es, a pesar de su car\u00e1cter de retrospectiva, el simple recorrido cronol\u00f3gico por la obra del artista \u2013un recorrido que ya de por s\u00ed ser\u00eda enormemente enriquecedor e instructivo\u2013, sino la consideraci\u00f3n de la obra de Josef Albers como un proyecto tan coherente como peculiarmente dirigido por una decidida voluntad de simplicidad, por el uso productivo de medios y recursos intencionadamente limitados, por el respeto al trabajo manual y por el \u00e9nfasis en la experimentaci\u00f3n con el color, que desemboca en la materialidad de una obra de alto contenido po\u00e9tico y espiritual. La obra de Josef Albers es, decididamente, el resultado de una experimentada administraci\u00f3n de recursos art\u00edsticos. Su arte es, en su totalidad, el resultado de una verdadera \u00abeconom\u00eda de la forma\u00bb.<\/p>\n

Salvo sus primeros pasos en el lenguaje expresionista t\u00edpico de la Alemania de principios del siglo XX, la obra de Josef Albers est\u00e1 absolutamente regida por una econom\u00eda de medios que constituye el aut\u00e9ntico principio rector de su pr\u00e1ctica art\u00edstica. Uno de sus primeros textos, publicado en 1928 bajo el t\u00edtulo de \u00abWerklicher Formunterricht\u00bb, empieza as\u00ed: \u00abvivimos en una \u00e9poca orientada por la econom\u00eda\u00bb; y a\u00f1ade: \u00aben \u00e9pocas anteriores era m\u00e1s importante la visi\u00f3n del mundo\u00bb. Sin embargo, la noci\u00f3n de econom\u00eda manejada por Josef Albers no es la del intercambio de bienes, no es la limitada econom\u00eda del mercado. Es econom\u00eda en un sentido m\u00e1s profundo, m\u00e1s universal, es la econom\u00eda de las relaciones de los seres humanos entre s\u00ed y con los objetos del mundo.<\/p>\n

Desde esa perspectiva m\u00e1s amplia, esta exposici\u00f3n explora tambi\u00e9n el proceso del trabajo art\u00edstico y la labor pedag\u00f3gica, te\u00f3rica y pr\u00e1ctica, de Josef Albers. Pues Albers es, tambi\u00e9n en este campo, una figura muy especial: alumno y despu\u00e9s maestro en la Bauhaus de Weimar y Dessau, docente en Black Mountain College y, por \u00faltimo, en la Universidad de Yale, su vida estuvo unida como la de apenas otro artista del siglo XX a los dos experimentos de ense\u00f1anza del arte m\u00e1s atrevidos del \u00faltimo siglo. La exposici\u00f3n intenta hacerse cargo de la fuerte vocaci\u00f3n pedag\u00f3gica de Josef Albers, incluyendo materiales y ejercicios de sus alumnos en la Bauhaus y en Yale (singularmente los de su \u00faltima etapa universitaria, los trabajos de alumnos de Yale con los que Albers estructurar\u00eda su c\u00e9lebre Interaction of Color<\/em>).<\/p>\n

Con respecto a su labor como escritor (te\u00f3rico del arte y de la educaci\u00f3n, pedagogo, poeta), el cat\u00e1logo que acompa\u00f1a a la exposici\u00f3n aporta una amplia secci\u00f3n documental con 57 textos de Josef Albers \u201326 de ellos absolutamente in\u00e9ditos\u2013 de los que 53 han sido traducidos al castellano por primera vez desde sus originales in\u00e9ditos o publicados en alem\u00e1n o en ingl\u00e9s, adem\u00e1s de 14 testimonios de colegas, estudiosos, historiadores, ensayistas y escritores, todos ellos salvo uno in\u00e9ditos hasta ahora en castellano. Y los de su autor\u00eda testimonian que la peculiar econom\u00eda que regula la creaci\u00f3n art\u00edstica de Albers domina tambi\u00e9n su reflexi\u00f3n te\u00f3rica y sus ideas en torno a la docencia y la pr\u00e1ctica del arte y del dise\u00f1o: el lector observar\u00e1 c\u00f3mo en los textos preparados y escritos por Josef Albers entre 1924 y 1966 aparecen por doquier las mismas ideas (o muy parecidas), las mismas convicciones, arraigadas y contrastadas en su visi\u00f3n del mundo y su experiencia de la vida. Pero no hay aqu\u00ed repetici\u00f3n ni mero aprovechamiento, sino m\u00e1s bien una aut\u00e9ntica \u00abeconom\u00eda de la distribuci\u00f3n\u00bb: en sus textos Albers rentabiliza inteligentemente sus ideas, haciendo con ellas inversiones en campos tan diversos entre s\u00ed como la creaci\u00f3n art\u00edstica, la conciencia hist\u00f3rica o de lo contempor\u00e1neo, la tipograf\u00eda, la ense\u00f1anza del arte, el arte abstracto, el color, el dise\u00f1o, la arquitectura o el sentido de la existencia. La lectura m\u00e1s desapasionada de esos textos mostrar\u00e1 a cualquiera que la inversi\u00f3n de Josef Albers al reflexionar sobre lo m\u00e1s te\u00f3rico y sobre lo m\u00e1s pr\u00e1ctico a lo largo de su vida no s\u00f3lo no est\u00e1 amortizada, sino que sigue rindiendo hoy verdaderos dividendos espirituales.<\/p>\n

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo<\/strong>
\nFundaci\u00f3n Juan March
\nCastell\u00f3 77. 28006
\nMadrid, Espa\u00f1a<\/p>\n

+ info<\/span><\/a><\/p>\n

\"\"<\/a>
Josef Albers<\/span>
Homenaje al cuadrado: Protegido, 1952<\/span>
\u00a9 The Josef and Anni Albers Foundation\/VEGAP, Madrid, 2014<\/span><\/figcaption><\/figure><\/p>\n

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo<\/em> \u00e9 a primeira retrospectiva dedicada a Josef Albers (1888-1976) en Espa\u00f1a. Composta por m\u00e1is dun centenar de obras e outras pezas mobiliario, obxectos, fotograf\u00edas e diverso material documental a mostra foi concibida e desenvolvida durante os \u00faltimos anos en colaboraci\u00f3n con The Josef and Anni Albers Foundation (Bethany, Connecticut).<\/p>\n

O f\u00edo condutor desta exposici\u00f3n non \u00e9, a pesar do seu car\u00e1cter de retrospectiva, o simple percorrido cronol\u00f3xico pola obra do artista -un percorrido que xa de por si ser\u00eda enormemente enriquecedor e instrutivo-, sen\u00f3n a consideraci\u00f3n da obra de Josef Albers como un proxecto tan coherente como peculiarmente dirixido por unha decidida vontade de simplicidade, polo uso produtivo de medios e recursos intencionadamente limitados, polo respecto ao traballo manual e pola \u00e9nfase na experimentaci\u00f3n coa cor, que desemboca na materialidade dunha obra de alto contido po\u00e9tico e espiritual. A obra de Josef Albers \u00e9, decididamente, o resultado dunha experimentada administraci\u00f3n de recursos art\u00edsticos. A s\u00faa arte \u00e9, na s\u00faa totalidade, o resultado dunha verdadeira \u00abeconom\u00eda da forma\u00bb.<\/p>\n

Salvo os seus primeiros pasos na linguaxe expresionista t\u00edpica da Alema\u00f1a de principios do s\u00e9culo XX, a obra de Josef Albers est\u00e1 absolutamente rexida por unha econom\u00eda de medios que constit\u00fae o aut\u00e9ntico principio reitor da s\u00faa pr\u00e1ctica art\u00edstica. Un dos seus primeiros textos, publicado en 1928 baixo o t\u00edtulo de \u00abWerklicher Formunterricht\u00bb, empeza as\u00ed: \u00abvivimos nunha \u00e9poca orientada pola econom\u00eda\u00bb; e engade: \u00aben \u00e9pocas anteriores era m\u00e1is importante a visi\u00f3n do mundo\u00bb. Non obstante, a noci\u00f3n de econom\u00eda manexada por Josef Albers non \u00e9 a do intercambio de bens, non \u00e9 a limitada econom\u00eda do mercado. \u00c9 econom\u00eda nun sentido m\u00e1is profundo, m\u00e1is universal, \u00e9 a econom\u00eda das relaci\u00f3ns dos seres humanos entre si e cos obxectos do mundo.<\/p>\n

Dende esa perspectiva m\u00e1is ampla, esta exposici\u00f3n explora tam\u00e9n o proceso do traballo art\u00edstico e o labor pedag\u00f3xico, te\u00f3rica e pr\u00e1ctica, de Josef Albers. Pois Albers \u00e9, tam\u00e9n neste campo, unha figura moi especial: alumno e despois mestre na Bauhaus de Weimar e Dessau, docente en Black Mountain College e, por \u00faltimo, na Universidade de Yale, a s\u00faa vida estivo unida como a de apenas outro artista do s\u00e9culo XX aos dous experimentos de ensino da arte m\u00e1is atrevidos do \u00faltimo s\u00e9culo. A exposici\u00f3n intenta facerse cargo da forte vocaci\u00f3n pedag\u00f3xica de Josef Albers, inclu\u00edndo materiais e exercicios dos seus alumnos na Bauhaus e en Yale (singularmente os da s\u00faa \u00faltima etapa universitaria, os traballos de alumnos de Yale cos que Albers estruturar\u00eda o seu c\u00e9lebre Interaction of Color<\/em>).<\/p>\n

Con respecto ao seu labor como escritor (te\u00f3rico da arte e da educaci\u00f3n, pedagogo, poeta), o cat\u00e1logo que acompa\u00f1a \u00e1 exposici\u00f3n achega unha ampla secci\u00f3n documental con 57 textos de Josef Albers -26 deles absolutamente in\u00e9ditos- dos que 53 foron traducidos ao castel\u00e1n por primeira vez dende os seus orixinais in\u00e9ditos ou publicados en alem\u00e1n ou en ingl\u00e9s, ademais de 14 testemu\u00f1os de colegas, estudosos, historiadores, ensa\u00edstas e escritores, todos eles salvo un in\u00e9ditos ata agora en castel\u00e1n. E os da s\u00faa autor\u00eda testemu\u00f1an que a peculiar econom\u00eda que regula a creaci\u00f3n art\u00edstica de Albers domina tam\u00e9n a s\u00faa reflexi\u00f3n te\u00f3rica e as s\u00faas ideas en torno \u00e1 docencia e a pr\u00e1ctica da arte e do dese\u00f1o: o lector observar\u00e1 como nos textos preparados e escritos por Josef Albers entre 1924 e 1966 aparecen por todas as partes as mesmas ideas (ou moi parecidas), as mesmas convicci\u00f3ns, arraigadas e contrastadas na s\u00faa visi\u00f3n do mundo e a s\u00faa experiencia da vida. Pero non hai aqu\u00ed repetici\u00f3n nin mero aproveitamento, sen\u00f3n m\u00e1is ben unha aut\u00e9ntica \u00abeconom\u00eda da distribuci\u00f3n\u00bb: nos seus textos Albers rendibiliza intelixentemente as s\u00faas ideas, facendo con elas investimentos en campos tan diversos entre si como a creaci\u00f3n art\u00edstica, a conciencia hist\u00f3rica ou do contempor\u00e1neo, a tipograf\u00eda, o ensino da arte, a arte abstracta, a cor, o dese\u00f1o, a arquitectura ou o sentido da existencia. A lectura m\u00e1is despaixonada deses textos mostrar\u00e1 a calquera que o investimento de Josef Albers ao reflexionar sobre o m\u00e1is te\u00f3rico e sobre o m\u00e1is pr\u00e1ctico ao longo da s\u00faa vida non s\u00f3 non est\u00e1 amortizada, sen\u00f3n que segue rendendo hoxe verdadeiros dividendos espirituais.<\/p>\n

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo<\/strong>
\nFundaci\u00f3n Juan March
\nCastell\u00f3 77. 28006
\nMadrid, Espa\u00f1a<\/p>\n

+ info<\/span><\/a><\/p>\n

\"\"<\/a>
Josef Albers<\/span>
Homenaje al cuadrado: Protegido, 1952<\/span>
\u00a9 The Josef and Anni Albers Foundation\/VEGAP, Madrid, 2014<\/span><\/figcaption><\/figure><\/p>\n

<\/em>Josef Albers: Minimal Means, Maximum Effect<\/em> is the first retrospective in Spain devoted to Josef Albers (1888\u20131976). Comprising more than one hundred works of art in addition to furniture, objects, photographs, and a range of documentary material, the exhibition has been devised and developed over the last years in close collaboration with The Josef and Anni Albers Foundation (Bethany, Connecticut).<\/p>\n

Notwithstanding its retrospective character, the exhibition is not structured as a simple chronological survey of the artist’s work, although this would in itself be enormously enriching and instructive. Rather, it presents the work of Josef Albers as a project equally characterized by its coherence and its search for simplicity, its productive use of deliberately limited means and resources, its respect for manual labor and its emphasis on experimentation with color, taking material shape in a body of work with a marked poetic and spiritual content. Albers’ output is decidedly the result of a judicious administration of artistic resources. In its totality his oeuvre is the consequence of a true \u00abeconomy of form.<\/p>\n

With the exception of his earliest creations, which deploy an Expressionist idiom typical of early 20th-century Germany, the work of Josef Albers was completely governed by an economy of means that constitutes the guiding thread of his artistic practice. One of the artist’s first texts, published in 1928 with the title \u00abWerklicher Formunterricht,\u00bb opens with the following words: \u00abOurs is an economically oriented age,\u00bb and goes on: \u00abIn earlier times, world-view was more important\u00bb. Nonetheless, the idea of economics as employed by Albers is not that of the exchange of goods, in other words it is not the limited market economy. The term has a more profound, universal meaning: it is the economics of the exchanges between human beings and between them and the objects of the world.<\/p>\n

From this broader viewpoint, the exhibition and its accompanying catalogue also explore Albers’ working process and his reflection about teaching, his theoretical and practical activities, given that in this area too he was a remarkable figure: a student and later a professor at the Bauhaus in Weimar and Dessau, and a teacher at Black Mountain College and finally at Yale University, in a way comparable to few other artists Albers’ life was closely linked to the two most advanced experiments in art teaching in the 20th century. The exhibition aims to emulate his pronounced pedagogical vocation and thus includes teaching material and exercises by his students at the Bauhaus and at Yale, most notably those pertaining to his final years at Yale, in the form of the student works that Albers would use to structure his celebrated text Interaction of Color<\/em>.<\/p>\n

With regard to his activities as a writer on art and educational theory and as a teacher and poet, the exhibition catalogue includes an extensive documentary section with 57 texts by Albers, 26 of them previously unpublished. In addition, it brings together 14 accounts of him by colleagues, students, art historians, essayists and writers, 4 of which are published here in English for the first time. The texts by Albers himself reveal how the uniquely economical approach that determined his artistic creation also prevailed in his theoretical reflections and in his ideas on teaching and the practice of art and design. The reader will appreciate that in the texts written by Albers between 1924 and 1966 the same, or very similar, ideas and deep-rooted convictions constantly reappear, tried and tested against his vision of the world and his experience of life. This is not, however, mere repetition or recycling, but rather an authentic \u00abeconomy of distribution.\u00bb In his texts, Albers made intelligent use of his ideas, \u00abinvesting\u00bb them in fields as different as artistic creation, historical and contemporary consciousness, typography, art teaching, abstract art, color, design, architecture and the meaning of existence. Even the most dispassionate reading of these texts will reveal that the investment Albers made in reflecting on the most theoretical and the most practical issues throughout the course of his life was not only paid back in full but continues to offer intellectual dividends to this day.<\/p>\n

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo<\/strong>
\nFundaci\u00f3n Juan March
\nCastell\u00f3 77. 28006
\nMadrid, Espa\u00f1a<\/p>\n

+ info<\/span><\/a><\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Josef Albers: medios m\u00ednimos, efecto m\u00e1ximo es la primera retrospectiva dedicada a Josef Albers (1888-1976) en Espa\u00f1a. Compuesta por m\u00e1s de un centenar de obras y otras piezas \u2012 mobiliario, objetos, fotograf\u00edas y diverso material documental\u2012 la muestra ha sido concebida y desarrollada durante los \u00faltimos a\u00f1os en colaboraci\u00f3n con The Josef and Anni Albers […]<\/p>\n","protected":false},"author":2,"featured_media":46366,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[199,4503,434,12460,7338,10689,12466],"class_list":["post-46364","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-bauhaus","tag-diseno-de-mobiliario","tag-documental","tag-fotografia","tag-fundacion-juan-march","tag-josef-albers","tag-pintura"],"yoast_head":"\nJosef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: Minimal Means, Maximum Effect - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Josef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: Minimal Means, Maximum Effect\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/josef-albers-medios-minimos-efecto-maximo\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Josef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: medios m\u00ednimos, efecto m\u00e1ximoJosef Albers: Minimal Means, Maximum Effect - 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