{"id":65150,"date":"2017-07-13T00:05:28","date_gmt":"2017-07-12T22:05:28","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=65150"},"modified":"2019-10-31T11:11:02","modified_gmt":"2019-10-31T10:11:02","slug":"kobro-strzeminski-prototipos-vanguardistas","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/kobro-strzeminski-prototipos-vanguardistas\/","title":{"rendered":"[:es]Kobro y Strzemi\u0144ski. Prototipos vanguardistas[:gl]Kobro e Strzemi\u0144ski. Prototipos vangardistas[:en]Kobro and Strzemi\u0144ski. Avant-Garde Prototypes[:]"},"content":{"rendered":"

[:es]

\"Vista
Vista de sala de la exposici\u00f3n Kobro y Strzemi\u0144ski. Prototipos vanguardistas<\/span><\/figcaption><\/figure><\/p>\n

La obra de Katarzyna Kobro<\/a><\/strong> y W\u0142adys\u0142aw Strzemi\u0144ski,<\/strong><\/a> que abarca desde finales de la d\u00e9cada de 1910 hasta comienzos de 1950, es uno de los ejemplos m\u00e1s consecuentes con las ideas de la vanguardia moderna. Integrada por diversas disciplinas, como pintura, escultura, arquitectura y dise\u00f1o industrial y gr\u00e1fico, anuncia nuevas tendencias, que alcanzar\u00edan su plenitud en las pr\u00e1cticas de generaciones posteriores, tales como el minimalismo, el movimiento Zero o el arte reduccionista.<\/p>\n

Dos premisas articulan el conjunto de la producci\u00f3n de ambos artistas. Por una parte, la convicci\u00f3n de que la obra debe constituirse en consonancia con los principios que le son inherentes a fin de alcanzar la coherencia interna. Por otra, la consideraci\u00f3n del arte como experimento de forma pura, aunque ello no implique la ausencia de una dimensi\u00f3n social: al contrario, para estos autores, la pr\u00e1ctica art\u00edstica desarrolla modelos abstractos de organizaci\u00f3n que pueden aplicarse al dise\u00f1o industrial, la arquitectura y la ingenier\u00eda. El prop\u00f3sito \u00faltimo del arte, por consiguiente, no es la fabricaci\u00f3n de objetos bellos, sino una transformaci\u00f3n sustancial del mundo a partir de la experimentaci\u00f3n creativa. La experimentaci\u00f3n es, precisamente, un imperativo constante en el ideario art\u00edstico de Kobro y Strzemi\u0144ski que se manifiesta en el continuo proceso de fabricaci\u00f3n de prototipos \u2013la b\u00fasqueda y puesta a prueba de diferentes soluciones a cada problema planteado\u2013 que abordan la organizaci\u00f3n material y estructural tanto de la obra de arte como de la sociedad, hasta, en \u00faltimas etapas, el fen\u00f3meno de la visi\u00f3n.<\/p>\n

\"Katarzyna
Katarzyna Kobro. Kompozycja przestrzenna (4) [Composici\u00f3n espacial (4)], 1929. \u00d3leo y metal 40 x 64 x 40 cm. Muzeum Sztuki, \u0141\u00f3d\u017a<\/span><\/figcaption><\/figure>\n

La presente exposici\u00f3n, dedicada al trabajo de ambos artistas, plantea un recorrido por sus diferentes etapas y medios de expresi\u00f3n, repasando p\u00e1ginas poco conocidas de la Historia del Arte moderno y del contexto centroeuropeo de la primera mitad del siglo xx. En este sentido, la obra de Kobro y Strzemi\u0144ski, con la que transgredieron y radicalizaron muchos de los presupuestos de las vanguardias hist\u00f3ricas, permite tambi\u00e9n cuestionar algunas de las ideas m\u00e1s extendidas en torno a la modernidad y apuntar a sus posibles declinaciones y l\u00edneas de fuga.<\/p>\n

[:gl]

\"Vista
Vista de sala da exposici\u00f3n Kobro e\u00a0Strzemi\u0144ski. Prototipos vangardistas<\/span><\/figcaption><\/figure><\/p>\n

A obra de Katarzyna Kobro<\/a><\/strong>\u00a0e\u00a0W\u0142adys\u0142aw Strzemi\u0144ski,<\/strong><\/a> que abarca desde finais da d\u00e9cada de 1910 ata comezos de 1950, \u00e9 un dos exemplos m\u00e1is consecuentes coas ideas da vangarda moderna. Integrada por diversas disciplinas, como pintura, escultura, arquitectura e dese\u00f1o industrial e gr\u00e1fico, anuncia novas tendencias, que alcanzar\u00edan a s\u00faa plenitude nas pr\u00e1cticas de xeraci\u00f3ns posteriores, tales como o minimalismo, o movemento Zero ou a arte reduccionista.<\/p>\n

D\u00faas premisas articulan o conxunto da produci\u00f3n de ambos os artistas. Por unha banda, a convicci\u00f3n de que a obra debe constitu\u00edrse en consonancia cos principios que lle son inherentes a fin de alcanzar a coherencia interna. Por outra, a consideraci\u00f3n da arte como experimento de forma pura, a\u00ednda que iso non implique a ausencia dunha dimensi\u00f3n social: ao contrario, para estes autores, a pr\u00e1ctica art\u00edstica desenvolve modelos abstractos de organizaci\u00f3n que poden aplicarse ao dese\u00f1o industrial, a arquitectura e a enxe\u00f1er\u00eda. O prop\u00f3sito \u00faltimo da arte, por conseguinte, non \u00e9 a fabricaci\u00f3n de obxectos belos, sen\u00f3n unha transformaci\u00f3n substancial do mundo a partir da experimentaci\u00f3n creativa. A experimentaci\u00f3n \u00e9, precisamente, un imperativo constante no ideario art\u00edstico de Kobro e Strzemi\u0144ski\u00a0 que se manifesta no continuo proceso de fabricaci\u00f3n de prototipos \u2013a procura e posta a proba de diferentes soluci\u00f3ns a cada problema exposto\u2013 que abordan a organizaci\u00f3n material e estrutural tanto da obra de arte como da sociedade, ata, en \u00faltimas etapas, o fen\u00f3meno da visi\u00f3n.<\/p>\n

\"Katarzyna
Katarzyna Kobro. Kompozycja przestrzenna (4) [Composici\u00f3n espacial (4)], 1929. \u00d3leo y metal 40 x 64 x 40 cm. Muzeum Sztuki, \u0141\u00f3d\u017a<\/span><\/figcaption><\/figure>\n

A presente exposici\u00f3n, dedicada ao traballo de ambos os artistas, exp\u00f3n un percorrido polas s\u00faas diferentes etapas e medios de expresi\u00f3n, repasando p\u00e1xinas pouco co\u00f1ecidas da Historia da arte moderno e do contexto centroeuropeo da primeira metade do s\u00e9culo xx. Neste sentido, a obra de Kobro e Strzemi\u0144ski, coa que transgredieron e radicalizaron moitos dos orzamentos das vangardas hist\u00f3ricas, permite tam\u00e9n cuestionar algunhas das ideas m\u00e1is estendidas ao redor da modernidade e apuntar \u00e1s s\u00faas posibles declinaci\u00f3ns e li\u00f1as de fuga.<\/p>\n

[:en]

\"Vista
Exhibition view Kobro and\u00a0Strzemi\u0144ski Avant-Garde Prtotypes<\/span><\/figcaption><\/figure><\/p>\n

Active from the late 1910s until the early 1950s, Katarzyna Kobro<\/a><\/strong> and W\u0142adys\u0142aw Strzemi\u0144ski<\/strong><\/a> produced work that was especially consistent with modernist avant-garde ideas. Touching on various disciplines, including painting, sculpture, architecture, and industrial and graphic design, their oeuvre anticipated new trends that were to reach their plenitude in the practices of later generations, such as minimalism, the Zero movement, and reductionist art.<\/p>\n

Two premises articulate the production of both artists. The first is the conviction that the artwork must be constituted in consonance with the principles inherent to it in order to attain internal coherence. The second is the conception of art as an experiment in pure form, though this does not imply the absence of a social dimension. Indeed, these artists saw artistic practice as developing abstracts models of organization that could be applied to industrial design, architecture, or engineering. The ultimate purpose of art is therefore not the manufacture of beautiful objects but a substantial transformation of the world on the basis of creative experimentation. The artistic ideas of Kobro and Strzemi\u0144ski in fact included a constant demand for experiment that manifested itself in the continual manufacture of prototypes, seeking and testing various solutions for each problem encountered in a process that embraced the material and structural organization of both the artwork and society, and in later years even the phenomenon of vision itself.<\/p>\n

\"Katarzyna
Katarzyna Kobro. Kompozycja przestrzenna (4) [Composici\u00f3n espacial (4)], 1929. Oil and metal 40 x 64 x 40 cm. Muzeum Sztuki, \u0141\u00f3d\u017a<\/span><\/figcaption><\/figure>\n

This exhibition dedicated to the work of both artists takes visitors on an itinerary through their different phases and means of expression, revisiting some of the lesser-known pages of the history of modern art and the Central European context of the first half of the 20th century. In this respect, the work of Kobro and Strzemi\u0144ski, with which they transgressed and radicalized many of the beliefs of the avant-gardes, also allows us to question some of the most widespread ideas on modernism, pointing us toward its possible declinations and the vanishing points on its horizon.<\/p>\n

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

[:es] La obra de Katarzyna Kobro y W\u0142adys\u0142aw Strzemi\u0144ski, que abarca desde finales de la d\u00e9cada de 1910 hasta comienzos de 1950, es uno de los ejemplos m\u00e1s consecuentes con las ideas de la vanguardia moderna. Integrada por diversas disciplinas, como pintura, escultura, arquitectura y dise\u00f1o industrial y gr\u00e1fico, anuncia nuevas tendencias, que alcanzar\u00edan su […]<\/p>\n","protected":false},"author":2,"featured_media":65152,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[12448,12449,155,430,431,508,668,712,737,13067,6794,12466,1241,1278,1335],"class_list":["post-65150","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-arquitectura","tag-arte","tag-arte-contemporaneo","tag-diseno-grafico","tag-diseno-industrial","tag-escultura","tag-historia","tag-ingenieria","tag-investigacion","tag-katarzyna-kobro","tag-museo-reina-sofia","tag-pintura","tag-sociedad","tag-teoria","tag-vanguardia"],"yoast_head":"\n[:es]Kobro y Strzemi\u0144ski. Prototipos vanguardistas[:gl]Kobro e Strzemi\u0144ski. 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