{"id":65317,"date":"2017-08-22T00:05:35","date_gmt":"2017-08-21T22:05:35","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=65317"},"modified":"2020-09-22T09:22:33","modified_gmt":"2020-09-22T07:22:33","slug":"forzar-la-maquina-lee-lozano","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/forzar-la-maquina-lee-lozano\/","title":{"rendered":"[:es]Forzar la m\u00e1quina. Lee Lozano[:gl]Forzar a m\u00e1quina. Lee Lozano[:en]Pulling out the Stops. Lee Lozano[:]"},"content":{"rendered":"<p>[:es]<figure id=\"attachment_65318\" aria-describedby=\"caption-attachment-65318\" style=\"width: 640px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-65318\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg\" alt=\"Lee Lozano. Ream, 1963. \u00d3leo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary y James A. Michener, 1968\" width=\"640\" height=\"510\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg 543w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968-300x239.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption id=\"caption-attachment-65318\" class=\"wp-caption-text\"><span style=\"color: #999999;\">Lee Lozano. Ream, 1963. \u00d3leo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary y James A. Michener, 1968<\/span><\/figcaption><\/figure><\/p>\n<p class=\"DefaultCxSpFirst\" style=\"text-align: justify;\">A lo largo de la d\u00e9cada de los sesenta del siglo XX y en tan solo doce a\u00f1os, Lee Lozano (Newark, 1930-1999) desarroll\u00f3 una obra radicalmente provocadora, urgida por un firme cuestionamiento de todas y cada una de las estructuras impuestas socialmente. Su trayectoria coincide con la eclosi\u00f3n de los movimientos civiles, antib\u00e9licos y el esp\u00edritu reivindicativo, libre y desenfado que emergi\u00f3 en aquellos a\u00f1os en el horizonte pol\u00edtico y est\u00e9tico norteamericano.<\/p>\n<p class=\"DefaultCxSpFirst\" style=\"text-align: justify;\">Esta retrospectiva aborda la capacidad de Lozano para entender e incorporar las casu\u00edsticas de un periodo que redefini\u00f3 las condiciones cambiantes del arte y su progresiva desintegraci\u00f3n en la vida. Su recepci\u00f3n de Herbert Marcuse, quien en\u00a0<i>Eros y civilizaci\u00f3n<\/i>\u00a0(1955) hab\u00eda abogado por la sensualidad y el juego, as\u00ed como su inter\u00e9s recurrente por la ciencia y, particularmente, los fen\u00f3menos relacionados con la energ\u00eda y el rigor matem\u00e1tico, vertebran su breve carrera y articulan esta muestra.<\/p>\n<p style=\"text-align: justify;\">La selecci\u00f3n de obras presentadas incluye un volumen excepcional de dibujos y pinturas de gran carga er\u00f3tica realizados entre 1961 y 1963. Estas piezas conjugan \u00f3rganos del cuerpo y utensilios de trabajo en un h\u00edbrido agresivo y devorador. El a\u00f1o 1964 marc\u00f3 un punto de inflexi\u00f3n en su obra, tanto en t\u00e9rminos de formato como de color virando hacia una paleta m\u00e1s austera. Detalles sobredimensionados de herramientas industriales ocuparon entonces los primeros planos, imprimiendo una tensi\u00f3n amenazadora, propia de la cadena de producci\u00f3n en serie. Estos objetos de turbadora ambig\u00fcedad y contornos definidos a\u00fan retienen una lejana referencia sexual que traslada cierta sensaci\u00f3n de riesgo.<\/p>\n<p style=\"text-align: justify;\">Alrededor de 1965 se vuelve m\u00e1s abstracta y minimalista, centr\u00e1ndose en lo que la artista denomin\u00f3 \u201cpinturas de energ\u00eda\u201d. En ellas la experiencia de la espacialidad se consigue mediante la intersecci\u00f3n de planos geom\u00e9tricos que generan efectos \u00f3pticos. Lozano comenz\u00f3 de manera temprana a conceptualizar su pr\u00e1ctica pict\u00f3rica mediante c\u00e1lculos matem\u00e1ticos que la llevar\u00edan a perforar el lienzo. La rigurosidad y precisi\u00f3n de este m\u00e9todo culmin\u00f3 en las\u00a0<i>Wave Series<\/i>\u00a0(1969-1970), obra especialmente significativa para sus investigaciones sobre la energ\u00eda y el impacto de las ondas electromagn\u00e9ticas.<\/p>\n<p style=\"text-align: justify;\">Paralelamente, entre 1968 y 1969, realiz\u00f3 numerosos trabajos ling\u00fc\u00edsticos de car\u00e1cter conceptual y performativo, que se basaban en el estricto seguimiento de instrucciones autoimpuestas. Las consecuencias de esta imparable desmaterializaci\u00f3n fue\u00a0<i>Drop Out Piece\u00a0<\/i>(1972), un manifiesto desencantado en el que Lozano renunci\u00f3 a formar parte del sistema del arte, dando as\u00ed fin a su mete\u00f3rica carrera y apart\u00e1ndola para siempre de la escena art\u00edstica.<\/p>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/www.museoreinasofia.es\/exposiciones\/lee-lozano\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Lee Lozano<\/strong><\/a><br \/>\n<strong>Forzar la m\u00e1quina<\/strong><br \/>\n31 mayo &#8211; 25 septiembre, 2017 \/ Edificio Sabatini, Planta 3<\/p>\n<p>[:gl]<figure id=\"attachment_65318\" aria-describedby=\"caption-attachment-65318\" style=\"width: 640px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-65318\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg\" alt=\"Lee Lozano. Ream, 1963. \u00d3leo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary y James A. Michener, 1968\" width=\"640\" height=\"510\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg 543w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968-300x239.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption id=\"caption-attachment-65318\" class=\"wp-caption-text\"><span style=\"color: #999999;\">Lee Lozano. Ream, 1963. \u00d3leo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary e\u00a0James A. Michener, 1968<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">Ao longo da d\u00e9cada dos sesenta do s\u00e9culo XX e en tan s\u00f3 doce anos, Le Lozano (Newark, 1930-1999) desenvolveu unha obra radicalmente provocadora, urxida por un firme cuestionamiento de todas e cada unha das estruturas impostas socialmente. A s\u00faa traxectoria coincide coa eclosi\u00f3n dos movementos civ\u00eds, antib\u00e9licos e o esp\u00edrito reivindicativo, libre e desenfado que emerxeu naqueles anos no horizonte pol\u00edtico e est\u00e9tico norteamericano.<\/p>\n<p style=\"text-align: justify;\">Esta retrospectiva aborda a capacidade de Lozano para entender e incorporar as casu\u00edsticas dun per\u00edodo que redefiniu as condici\u00f3ns cambiantes da arte e a s\u00faa progresiva desintegraci\u00f3n na vida. A s\u00faa recepci\u00f3n de Herbert Marcuse, quen en <em>Eros e civilizaci\u00f3n<\/em> (1955) avogara pola sensualidade e o xogo, as\u00ed como o seu interese recorrente pola ciencia e, particularmente, os fen\u00f3menos relacionados coa enerx\u00eda e o rigor matem\u00e1tico, vertebran a s\u00faa breve carreira e articulan esta mostra.<\/p>\n<p style=\"text-align: justify;\">A selecci\u00f3n de obras presentadas incl\u00fae un volume excepcional de debuxos e pinturas de gran carga er\u00f3tica realizados entre 1961 e 1963. Estas pezas conxugan \u00f3rganos do corpo e utensilios de traballo nun h\u00edbrido agresivo e devorador. O ano 1964 marcou un punto de inflexi\u00f3n na s\u00faa obra, tanto en termos de formato como de cor virando cara a unha paleta m\u00e1is austera. Detalles sobredimensionados de ferramentas industriais ocuparon ent\u00f3n os primeiros planos, imprimindo unha tensi\u00f3n ameazadora, propia da cadea de produci\u00f3n en serie. Estes obxectos de turbadora ambig\u00fcidade e contornos definidos a\u00ednda rete\u00f1en unha afastada referencia sexual que traslada certa sensaci\u00f3n de risco.<\/p>\n<p style=\"text-align: justify;\">Ao redor de 1965 v\u00f3lvese m\u00e1is abstracta e minimalista, centr\u00e1ndose no que a artista denominou \u00a0\u201cpinturas de enerx\u00eda\u201d. Nelas a experiencia da espacialidad cons\u00e9guese mediante a intersecci\u00f3n de planos xeom\u00e9tricos que xeran efectos \u00f3pticos. Lozano comezou de maneira temper\u00e1 a conceptualizar a s\u00faa pr\u00e1ctica pict\u00f3rica mediante c\u00e1lculos matem\u00e1ticos que a levar\u00edan a perforar o lenzo. A rigorosidade e precisi\u00f3n deste m\u00e9todo culminou nas <em>Wave Series<\/em> (1969-1970), obra especialmente significativa para as s\u00faas investigaci\u00f3ns sobre a enerx\u00eda e o impacto das ondas electromagn\u00e9ticas.<\/p>\n<p style=\"text-align: justify;\">Paralelamente, entre 1968 e 1969, realizou numerosos traballos ling\u00fc\u00edsticos de car\u00e1cter conceptual e performativo, que se baseaban no estrito seguimento de instruci\u00f3ns autoimpuestas. As consecuencias desta imparable desmaterializaci\u00f3n foi <em>Drop Out Piece<\/em> (1972), un manifesto desencantado no que Lozano renunciou a formar parte do sistema da arte, dando as\u00ed fin \u00e1 s\u00faa mete\u00f3rica carreira e apart\u00e1ndoa para sempre da escena art\u00edstica.<\/p>\n<p class=\"DefaultCxSpFirst\" style=\"text-align: justify;\">\n<p style=\"text-align: justify;\"><a href=\"https:\/\/www.museoreinasofia.es\/exposiciones\/lee-lozano\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Lee Lozano<\/strong><\/a><br \/>\n<strong>Forzar la m\u00e1quina<\/strong><br \/>\n31 maio &#8211; 25 setembro, 2017 \/ Edificio Sabatini, Planta 3<\/p>\n<p>[:en]<figure id=\"attachment_65318\" aria-describedby=\"caption-attachment-65318\" style=\"width: 640px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-65318\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg\" alt=\"Lee Lozano. Ream, 1963. \u00d3leo sobre lienzo. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary y James A. Michener, 1968\" width=\"640\" height=\"510\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968.jpg 543w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2017\/07\/Lee-Lozano.-Ream-1963.-\u00d3leo-sobre-lienzo.-Blanton-Museum-of-Art.-University-of-Texas-Austin.-Donaci\u00f3n-de-Mary-y-James-A.-Michener-1968-300x239.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption id=\"caption-attachment-65318\" class=\"wp-caption-text\"><span style=\"color: #999999;\">Lee Lozano. Ream, 1963. Oil on canvas. Blanton Museum of Art. University of Texas, Austin. Donaci\u00f3n de Mary y James A. Michener, 1968<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">Throughout the 1960s, and across only twelve years, Lee Lozano (Newark, 1930\u20131999) developed a radically provocative body of work, actuated by the staunch questioning of each and every socially imposed structure. Her career unfolded alongside the emerging civil rights and anti-war movement and the protest, free and pacifist spirit that sprang up through the political landscape and aesthetics in America during that period.<\/p>\n<p style=\"text-align: justify;\">This retrospective surveys Lozano\u2019s ability to understand and incorporate casuistry in a period which redefined the changing conditions of art and its progressive disintegration in life. Her identification with Herbert Marcuse, and his championing of sensuality and play in\u00a0<i>Eros and Civilization\u00a0<\/i>(1955), as well as her ongoing interest in science, especially the phenomena related to energy and mathematical rigour, underpinned her brief career and shape this exhibition.<\/p>\n<p style=\"text-align: justify;\">The selection of works presented includes an exceptional volume of highly erotic drawings and paintings produced between 1961 and 1963, pieces which merge body organs and work utensils in an aggressive and devouring hybrid form. In Lozano\u2019s work 1964 represented a turning point, both in format and in a colour scheme which veered towards a starker palette. Enlarged parts of industrial tools predominated her early surfaces, suffusing them with a menacing tension characteristic of the mass production chain. These objects of disturbing ambiguity and defined contours still maintained vague sexual connotations and bore a certain sense of risk. Around 1965 her work became more abstract and minimalist, focusing on what the artist termed \u201cenergy paintings\u201d, whereby the experience of spatiality is obtained via the intersection of geometric planes which produce optical effects. Early on, Lozano started to conceptualise her pictorial practice through mathematical calculations, leading her to perforate the canvas. The rigour and precision of this method culminated in the\u00a0<i>Wave Series<\/i>\u00a0(1969\u20131970), work that was particularly relevant to her investigations into energy and the impact of electromagnetic waves.<\/p>\n<p style=\"text-align: justify;\">In parallel, between 1968 and 1969, she made a number of conceptual and performance linguistic works based on the strict adherence to self-imposed rules. The outcome of this irrepressible dematerialisation was\u00a0<i>Drop Out Piece\u00a0<\/i>(1972), a disenchanted manifestation in which Lozano refused to be part of the art system, thereby bringing an end to her meteoric career and forever distancing herself from the art scene.<\/p>\n<p style=\"text-align: justify;\"><a href=\"http:\/\/www.museoreinasofia.es\/en\/exhibitions\/lee-lozano\" target=\"_blank\" rel=\"noopener noreferrer\"><strong>Lee Lozano<\/strong><\/a><br \/>\nPulling out the Stops<br \/>\nMay 31 &#8211; September 25, 2017 \/ Sabatini Building, Floor 3<\/p>\n<p>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[:es] A lo largo de la d\u00e9cada de los sesenta del siglo XX y en tan solo doce a\u00f1os, Lee Lozano (Newark, 1930-1999) desarroll\u00f3 una obra radicalmente provocadora, urgida por un firme cuestionamiento de todas y cada una de las estructuras impuestas socialmente. Su trayectoria coincide con la eclosi\u00f3n de los movimientos civiles, antib\u00e9licos y [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":65318,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1382],"tags":[13084,2496,6409,1021,4444,1241,1278],"class_list":["post-65317","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-exposiciones","tag-lee-lozano","tag-movimiento","tag-movimiento-internacional","tag-pensamiento","tag-s-xx","tag-sociedad","tag-teoria"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>[:es]Forzar la m\u00e1quina. Lee Lozano[:gl]Forzar a m\u00e1quina. Lee Lozano[:en]Pulling out the Stops. Lee Lozano[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Forzar la m\u00e1quina. 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