28-12-14

Öyvind Fahlström, Antoine Bodar, Morris Rosenfeld, Erich Köhler, Alfred Wolfenstein, Édouard d’Anglemont, Antoine Furetière

 

De Zweedse kunstenaar, dichter en schrijver Öyvind Axel Christian Fahlström werd geboren op 28 december 1928 in São Paulo. Zie ook alle tags voor Öyvind Fahlström op dit blog.

Uit: The Invisible Painting, 1960

« To create new conventions, context, shapes that interpret what is sensed as crucial to our inner situation and our relationship to the world. To create a new visual language in which "form" and "content" collaborate unconditionally in order to convey this experience, which is neither purely "literary" nor musically "formal", but is somewhere between these extremes, though presumably closer to "content" than "form".

 

 
Nights, Winters, Years, 1975

 

Since, in accordance with our usual habits, we tend to interpret visual form (at least in the case of more complex form), the visible forms can never constitute such a contained and precise system as musical notation. By means of this interpretive experience we also distance ourselves from the object — the appetizing daubs of color on the wall — and approach a new spirituality in art (in a richer sense than Kandinsky's) and the invisible painting. »

 

 
Öyvind Fahlström (28 december 1928 - 9 november 1976)

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28-12-13

Öyvind Fahlström, Antoine Bodar, Morris Rosenfeld, Erich Köhler, Alfred Wolfenstein, Édouard d’Anglemont, Antoine Furetière

 

De Zweedse kunstenaar, dichter en schrijver Öyvind Axel Christian Fahlström werd geboren op 28 december 1928 in São Paulo. Zie ook alle tags voor Öyvind Fahlström op dit blog.

Uit: The Invisible Painting, 1960

“Nowadays it is possible to make and reproduce exact copies of paintings, in which even the tactile values, to some extent, are retained. Taking the opposite approach: to create directly on a "negative" which is then reproduced is another matter, but this is something that must be possible to achieve in an age when neither push-button annihilation nor moon rockets are inconceivable.

 

 
World Map, 1972

 

The painting as a handmade object would then decrease in significance compared with a painting that exists for the experience, the content, that it can convey. Become invisible painting.
The way to this kind of painting, which offers the most powerful and deepest possible experience, does not, of course, lie at our feet. For me, it is largely a question of making the painting take hold as a never completely graspable, definable, but riveting vehicle of content. To differentiate visual material, creating a pictorial world as richly and clearly conceived as the art of the past but a world that is without either conventional form or meaning.”

 

 
Öyvind Fahlström (28 december 1928 - 9 november 1976)

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28-12-11

Öyvind Fahlström, Manuel Puig, Antoine Bodar, Morris Rosenfeld, Erich Köhler, Guy Debord, Alfred Wolfenstein, Édouard d’Anglemont, Antoine Furetière

 

De Zweedse kunstenaar, dichter en schrijver Öyvind Axel Christian Fahlström werd geboren op 28 december 1928 in São Paulo. Zie ook mijn blog van 28 december 2010.

 

Uit: The Invisible Painting, 1960

 

„Very generally:
The future of art, if it is to have any future, must be based on a synthesis. I regard most modern art as an experimental field for separate discoveries and solutions, the unity of composition and form, color composition, illusions of time and space, poetic content, automatism and gesture, experimentation with material. A growing number of artists end up in a technical idiocy of style, cultivating a particular halfway solution.

The future: an attempt to create complete works of art. Fewer — bigger — more important — more worked through. That it's natural for an artist to make a few such works, in the same way a composer or writer does. Natural to plan and "think through" a work to a greater extent and, if possible, to use technology and science, as has been done most significantly in music. See, for example, Schöffer's cybernetic mobiles.

 

 

Öyvind Fahlström, Column no. 2 (Picasso 90), 1973

 

Less generally:
In one particular respect I think that collaboration with technology is imminent.

Painting is lagging behind the other art forms because of its limited opportunities to reach its audience. By "reach" I mean to "own" a work of art, to possess it, to take it out when you want to, have it on display or not — like a book or a record — so that as many people as possible can experience an original, as they can with film and theater. By this I mean that the fetishism connected to handmade and signed originals would never exist; instead there would be a multitude of equally valuable copies. When art is bought today, it happens, as we know, only partly for the same reasons that books or records are purchased — and it is bought by an extremely limited group of people. Those to whom works of art mean the most have the least means to acquire them. This is an incredibly warped situation, to which many artists are oddly resigned.“

 

 

Öyvind Fahlström (28 december 1928 - 9 november 1976)

 

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28-12-10

Öyvind Fahlström, Manuel Puig, Guy Debord, Antoine Bodar, Alfred Wolfenstein

 

De Zweedse kunstenaar, dichter en schrijver Öyvind Axel Christian Fahlström werd geboren op 28 december 1928 in São Paulo. Fahlström - het enige kind van Fritz en Karin Fahlström - bezocht net familie in Stockholm. Dus bleef hij en studeerde van 1949 tot 1952 archeologie en kunstgeschiedenis. Tussen 1950 en 1955 werkte hij als schrijver, criticus, vertaler en journalist. In 1953 had hij zijn eerste solo-tentoonstelling in Florence, waar zijn zaalgrote viltstift tekening, Opera (1952), werd getoond. In hetzelfde jaar publiceerde hij het manifest voor concrete poëzie. Van 1956 tot 1959 leefde hij in Parijs. Een beurs stelde hem in staat in 1961 naar New York te gaan, waar hij introk in de oude studio van Robert Rauschenberg in Front Street 128. Jasper Johns woonde er nog. Fahlström nam in 1962 deel aan de Pop Art tentoonstelling van The New Realists in de Sidney Janis Gallery. In de laatste tien jaar van zijn leven voltooide hij vier films en werd zijn kunst in galeries en musea tentoongesteld, met name in de VS en Europa.

 

Uit: Manifesto for Concrete Poetry

 

„The literary fashion for 1953 was dictated by Sigtuna [where a literary conference was held]. One rejected the psychoanalytically marked bust line and hop line, pulled down the skirt length and lowered the neck line. Since fantasy is to be stressed this year, flounces and butterflies in the hair, everyone Sings with Setterlind (Swedish “court” poet).

All this is well-known. But what lies behind these general recommendations, how shall we realize them? It has been said that we should interpret modern myths (at the same time that Freud has been accused of myth-making); and that we should not bury ourselves in the situation of our time, but should concern ourselves with timeless symbols.

Myths: does this mean to construct a complicated apparatus of symbolic and mythological contacts a la Joyce, Gösta Oswald [Swedish novelist], etc. “who did the same thing with Shakespeare or Virgil”?

Or to give up the precise complexion and to be satisfied with single ideas, most often only single words, floating around without definite contexts? The risk is that the impression will be less timeless and less related to our timeless humanity, quite simply that it will be looser and more general; since the eternally valid word-symbols (if there are such animals) have become faded by much rubbing on the washboard. To some, Lorca, for example, they have been quite useful in new contexts. Also for the surrealists, but on another level, for them it has been valid not to create eternal myths, but myths useful for the future.“

 

 

 

Öyvind Fahlström (28 december 1928 - 9 november 1976)

 

 

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