Academic literature on the topic 'Naum Gabo'

Les découvertes de la physique développées au début du XXe siècle ont inspire de nombreux artistes, ainsi qu’en témoignent les écrits de Theo van Doesbourg, Jean Hélion, Georges Vantongerloo, Salvador Dali, etc. Parmi les objets de convergence entre art et science, les modèles mathématiques sont des formes créées par les mathématiciens au XIXe siècle pour représenter en trois dimensions des fonctions algébriques complexes. Séduits par la beauté et le pouvoir expressif de ces modèles, les Surréalistes les présentent en 1936 dans leurs expositions à Paris, Londres et New York ; Man Ray les photographie et les peint ; Max Ernst les intègre a ses collages. Introduits dans le monde de l’art, ces modèles perdent leur contenu mathématique pour acquérir une signification nouvelle. L’astronomie est à l’honneur dans les sculptures abstraites en fil de fer d’Alexander Calder exposées en 1931 à la Galerie Percier, ainsi que dans les constructions et les peintures de Vantongerloo. Max Bill construit le « Ruban sans fin » avec l’anneau de Möbius. Cette thèse met particulièrement l’accent sur les surfaces réglées telles que les surfaces développables, le paraboloïde hyperbolique, etc. Que les Constructivistes Antoine Pevsner et Naum Gabo choisissent comme éléments constitutifs de leurs sculptures. Grace à leur courbure, ces formes concilient le géométrique et l’organique. Il ressort de notre analyse que ces surfaces courbes engendrées par des droites sont le moyen privilégié pour inscrire le mouvement, le temps, la quatrième dimension dans la construction. Pevsner et Gabo utilisent les surfaces réglées comme moyens plastiques pour construire un espace-temps courbe à quatre dimensions<br>The discoveries in physics, at the beginning of the XX th century, have inspired many artists, as indicated by the writings of Theo van Doesburg, Jean Hélion, Georges Vantongerloo, Salvador Dali, etc. As examples of the convergence of art and science, mathematical models are three-dimensional forms created by nineteenth century mathematicians to depict complex algebraic functions. Attracted by the beauty and the expressive power of these models, the Surrealists presented them in their 1936 exhibitions in Paris, London and New York; Man Ray has photographed and painted them; Max Ernst has incorporated them in his collages. Introduced in the art world, these models loose their mathematical content and acquire a new meaning. Astronomy is honoured in the iron wire abstract sculptures that Alexander Calder presented in 1931 at the Percier Gallery in Paris, as well as in the paintings and constructions of Vantongerloo. Max Bill has built the “Ruban sans fin” with the Möbius ring. This thesis is focused on ruled surfaces such as developable surfaces, hyperbolic paraboloids etc. That the Constructivists Antoine Pevsner and Naum Gabo have chosen as constitutive elements for their sculptures. Thanks to their curvature, these forms combine geometric and organic aspects. Our analysis shows that these curved surfaces generated by straight lines are the privileged means to inscribe the movement, the time, the fourth dimension in their construction. Pevsner and Gabo used the ruled surfaces as plastic means to build a curved four-dimensional space-time

Jag fascineras av produktion och hur vi bemästrar tekniker för att skapa vår omgivning. Vi implementerar vetenskap på material och kallar det ingenjörskonst. I mitt examensarbete utgår jag från materialet trä, som är levande och varmt, och genom traditionell böjträteknik formar jag det. Jag fördjupar mig i tekniken genom studiebesök, egna experiment samt teori.Men detta är också design, jag skapar åt användaren. Många av mina timmar går åt att undersöka, utforska och leta form och funktion. Samtidigt erbjuder materialet, vänligt men bestämt, begränsningar som jag frestas tänja på, vilket tydliggör det levande i materialet.Resultatet blir både ett fördjupat förhållningssätt till design samt prototyper av pallar och stolar. Dessa består av komponenter böjda i två dimensioner, men på grund av dess rombformade tvärsnitt uppstår en mer komplex och tredimensionell yta i böjarna. Min ambition har varit att förena estetiken i det industriellt konstruktiva samt i det organsikt växande i naturen. Möblerna gestaltar tid och rum genom sina linjer och former på ett viktigt och berättigat sätt.<br>I am fascinated by production and how to master the techniques to create our surroundings. We implement science on materials and call it engineering. In my thesis I’ve worked with wood, which is alive and warm, and through the traditional bent wood technique shape it. I deepen my knowledge in the technique through field trips, experiments and theory.But this is also the design, I create for the user. Many of my hours are spent investigating, exploring and searching for form and function. At the same time the material wood is offering, politely but firmly, limitations that I’m tempted to stretch. The result of my thesis is both an in-depth approach to design and prototypes of stools and chairs. These components are bent in two dimensions, but because of its diamond-shaped cross section, a more complex three-dimensional surface of the bends appear. My aim has been to combine the aesthetics of industry and the aesthetics the organicly grown in nature. These pieces portray time and space through their lines and shapes in an important and legitimate means.

In this Master in Sculpture Studies we try to expose and analyze the question of space in sculpture, from the beginning of modernism to the present day, mentioning some close previous situations and following R. Krauss logic of expanded space in sculpture. In this sense, we look to a better understanding of how to transit from a closed space to a negative one, through the history of sculpture of the 20th century. Enunciating these same changes, focusing on the different approaches made before, from analyses of both artists thoughts, as well as artist’s deposition on writings and interviews among other sources. We wish above all, not loose sight of the relation’s between, artist, work of art and spectator, having has main concern the historical-conceptual dimension of the works of art in relation with space

Lo grotesco, como categoría transtemporal, en la versión contemporánea del grotesco esperpéntico, es el principal tema teórico de esta disertación. A través de una perspectiva comparatista, procederemos a un análisis de As Naus, de António Lobo Antunes (1988), a partir de Tirano Banderas. Novela de tierra caliente, de Ramón del Valle-Inclán (1927). Dos obras en las cuales el modo de representación es el grotesco esperpéntico – modo literario deconstructor de los poderes institucionalizados, de la historia oficial y de los héroes canonizados -, mediante un proceso de heteromímesis que integra la contrarrepresentación de los discursos fictivos o ficcionalizantes de las historiografías oficiales. Por todo ello, nos acercamos a As Naus desde el expresionismo y, más específicamente, desde el grotesco esperpéntico, con todas las implicaciones contextuales y relacionales que esta decisión conlleva. Lo grotesco se nos configura no solamente como categoría transtemporal, sino también como modo de representación artística transterritorial. Con el enfoque comparatista que proponemos deseamos problematizar clasificaciones endogámicas y limitadoras que la categoría de lo nacional, aplicada al estudio de los objetos artísticos, ha ido estableciendo desde el s. XIX, período en el que podemos situar el refuerzo de las construcciones de elementos constitutivos de identidades nacionales, siendo los mismos, simultáneamente, condición esencial para la legitimación de los mismos fundamentos de dichas estructuras – discursivas, icónicas – nacionales. Ante todo, nuestro propósito es poner en tela de juicio conceptos y lugares comunes de los Estudios Literarios, teniendo en cuenta nuestra experiencia en la investigación y en la docencia. Para ello, intentamos recorrer momentos señalados en el devenir de las poéticas occidentales, para entender mejor en qué punto se sitúa la representación literaria grotesca en la jerarquía de los modos de representación, en cuya escala han prevalecido hasta la época (llamada) contemporánea los modos de representación solemnes, realistas o épicos. En esta progresiva deconstrucción y transformación de paradigmas consideramos, siempre, el pensamiento filosófico, desde Aristóteles hasta Nietzsche, así como las relaciones entre periodos como el Barroco y los Simbolismos-Decadentismos del s. XIX. A lo largo de todo esta senda de gradual nihilismo respecto y a través de la representación artística grotesca, la metáfora asume un claro protagonismo. Utilizada y legislada desde los orígenes de la cultura humana, el grotesco esperpéntico contribuye a descanonizarla.<br>O grotesco, enquanto categoria transtemporal, na sua versão contemporânea ibérica do grotesco esperpêntico, constitui o principal assunto desta tese. Através de uma perspectiva comparatista, procede-se à análise de As Naus, de António Lobo Antunes (1988), a partir de Tirano Banderas, de Ramón del Valle-Inclán (1927). Duas obras em que o modo de representação é o grotesco esperpêntico – modo literário desconstructor dos poderes instituídos, da história oficial e dos heróis canonizados –, através de um processo de heteromimésis, integrando a contra-representação dos discursos fictivos ou ficcionalizantes das historiografias oficiais. Deste modo, analisamos As Naus a partir do expressionismo e, mais especificamente, do grotesco esperpêntico, com todas as implicações contextuais e relacionais desta decisão. O grotesco configura-se não apenas como categoria transtemporal mas também como modo de representação transterritorial. A abordagem comparatista que aqui se propõe almeja questionar classificações endogâmicas e limitadoras que a categoria do nacional aplicada ao estudo dos objectos artísticos foi estabelecendo, desde o século XIX, período a que se pode atribuir o reforço das construções de elementos constitutivos de identidades nacionais, sendo os mesmos, simultaneamente, uma condição essencial para a legitimação dos próprios fundamentos dessas existências nacionais. O nosso intuito foi, acima de tudo, problematizar conceitos e lugares comuns dos Estudos Literários, tendo em conta a nossa experiência investigadora e docente. Para isso, tentámos percorrer momentos destacados no devir das Poéticas ocidentais, para percebermos melhor o lugar da representação literária grotesca na hierarquia dos modos de representação, em que prevaleceram, até à época dita contemporânea, modos de representação solenes, realistas ou épicos. Nessa progressiva desconstrução e mudança de paradigmas tivemos em conta, sempre, o pensamento filosófico, desde Aristóteles até Nietzsche, e as relações entre períodos como o Barroco e os Simbolismos-Decadentismos do século XIX. Em todo este caminho de gradual niilificação através da representação artística grotesca, a metáfora assume um claro protagonismo. Usada e legislada desde o princípio dos tempos, é descanonizada através do grotesco esperpêntico.<br>The grotesque, as a transtemporal category, in its contemporary Iberian version of grotesque esperpento, is the main focus of the present thesis. Through comparatist perspective, we analyze As Naus (The Return of the Caravels), by António Lobo Antunes (1988), with basis in Tirano Banderas, by Ramón del Valle-Inclán (1927). Two literary works in which the mode of representation is the esperpéntico grotesque, which deconstructs institutionalized powers, official history and glorified heroes, through a process of hetero-mimesis, introducing the counter-representation of the pretense or fictionalized narratives of the official historiographies. In this way, we analyze As Naus from expressionism and, more precisely, from the sperpentic grotesque, with all the contextual and relational implications of this decision. The grotesque is perceived not only as transtemporal category but also as a trans-territorial representation mode. The comparatist approach presently proposed aims at questioning endogamous and restrictive classifications that the national category, applied to the study of artistic objects, progressively established since the 19th century. This was a time when there was a strengthening of the construction process of supportive elements for national identities. These elements were, simultaneously, an essential condition for the legitimization of the very foundations of these national constructs. Our intention is, above all, to question concepts and commonplaces of the Literary Studies, taking into account our research and teaching experiences. In this pursuit, we attempted to grasp key formative moments of the western Poetics, to better understand the place of grotesque literary representation in the hierarchy of representation modes, in which solemn, realism or epic modes have been prevalent until the contemporary epoch. Throughout this progressive deconstruction and paradigm shift we always took into consideration philosophic thought, from Aristotle to Nietzsche, and the relationships between eras such as the Baroque and the Decadence-Symbolisms of the 19th century. Along the entirety of this path of gradual nihilification through grotesque artistic representation, metaphor clearly takes a leading role. Utilized and legislated since the dawn of time, it is reassessed through the esperpéntico grotesque.