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Arevalo Gallery

Exhibition Detail
VOID AND FEELING. Exploring the Mahlevich legacy through selected works in Black and White.
151 NE 40th Street 200. The Design District
Miami , Florida 33137
Main-recommend2-4cbd52e0f0582293366fa9f79bcce5f5 1 person has recommended this exhibit

May 14th, 2011 - July 29th, 2011
May 14th, 2011 6:00 PM - 8:00 PM
Dactiloscrito, Mira SchendelMira Schendel, Dactiloscrito,
1976, Type set and letraset on Paper, 18 x 14 In
© Arevalo Gallery
Atmosphere Chromoplastique No 518, Luis TomaselloLuis Tomasello,
Atmosphere Chromoplastique No 518,
1982, Acrylic on wood, 39.5 x 39.5 In
© Arevalo gallery
Dibujo Concreto 11K, Raul LozzaRaul Lozza, Dibujo Concreto 11K,
1947, Oil on Wood, 100 x 80 cm
© Arevalo Gallery
Untitled, Aluisio carvaoAluisio carvao, Untitled,
1953, Indina Ink on paper, 30 x 23 cm
© Arevalo Gallery
Untitled, Mira Schendel, Gertrude Goldschmidt (Gego), Leon Ferrari, Aluisio carvaoMira Schendel, Gertrude Goldschmidt (Gego), Leon Ferrari, Aluisio carvao,
Untitled, c 1950's -1990's, Paper
© Arevalo Gallery
Untitled, Untitled, 1970's- 2010
© Arevalo Gallery
, Carmelo Arden Quin, Lothar Charoux, Antonio AsisCarmelo Arden Quin, Lothar Charoux, Antonio Asis
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design district
+1 305 860 3311
Mon thru Fri 10:00 am to 6:00 pm, Sat by appointment only
sculpture, modern, Latin American photography, concretism, Julio Cortazar

 V O I D    A N D    F E E L I N G



In 1913, Kasimir Mahlevich took refuge in the Square form and exhibited a picture that consisted of nothing more than a Black Square on a White field; in his own words: “a desperate attempt to free art from the ballast of objectivity”. 

His main goal resided on his efforts to evidence that through an artistic process in which the final objective was no other than to spend long hours of inspiration and creativity painting a black square, FEELING had finally assumed an external form” and everything else beyond (the white field) would be interpreted as the VOID.  He wanted art to exist in and for itself, without any object, form or manner to be used as reference. No more the virtuosity of the painter would be judged on the illusion of the image contemplated, he wanted us to dwell on the contemplation itself and feel.

 Such ideas embodied the springboard from which modernism would later  jump in many ways and forms, and although in our show black is almost continuously associated to geometry, some of the the artworks represented in it have embraced black in as many forms shapes or shades as the artists thought possible within their principles and iconography.

 During the 1980’s and through endless conversation with Julio Cortazar, Luis Tomasello centered his efforts on the search for the atmospherization of the color Black (having attained the atmospherization of almost every other color through his Chromoplastic Atmospheres), he reached success by opening spaces within a black painted surface and discovered that within that space, the color black had become darker and deeper: a dematerialized black atmosphere. From such discussions and discovery, the idea of creating the book “Negro el 10” came to fruition; an art-object in which 10 graphics by Luis Tomasello would be accompanied by a Julio Cortazar poem titled Negro el 10 (in reference to the fact that black is the color of the number 10 in the Roulette).  Julio Cortazar would embrace such endeavor by creating an ode to the color black in ten brief but heartfelt stanzas (he finished signing this limited edition art-book-object in his hospital bed, just a few days before his passing, and as such, it can be interpreted as his final work).  We thought fitting to include a work by Tomasello from such period and that every one of the works participating in our show should be accompanied by a fraction of the poem Negro el 10.

 Added to the latter our exhibit is proud to present works by Francoise Morellet, Mira Schendel, GeGo, Antonio Asis and a calligraphic linear  work in a square form by Leon Ferrari (appropriately embossed in Braille with the poem “Un Ciego” by Jorge Luis Borges).  Works by Eduardo Seron, Ana Sacerdote, Raul Lozza, Carmelo Arden Quin, Aluisio Carvao, and Lothar Charoux complement the Concrete phase of our show and contemporary artists such as Antonio Dias (Brazil), Patrizia Zelano (Italy), Roberto Obregon (Venezuela), Pae White (USA) and Santiago Parra (Colombia) are all represented as well.

 To concentrate our efforts in just the obvious common denominator of our exhibit would defeat its purpose. “But the nature and meaning of artistic creation continue to be misunderstood, as does the nature of creative work in general, because feeling, after all, is always and everywhere the one and only source of every creation”, Mahlevich wrote at the end of his manifesto.

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