Construções Sensíveis: A experiência Geometrica Latino Americana na Coleção Ella Fontanals-Cisneros

An exhibition of abstract art from Latin America.  Created especially for Brazil, the shows features a significant selection of works which belong to the collection of Ella Fontanals-Cisneros, bringing to the public the geometric experiences which began in 1930 and still resonate today

Galerias Construções Sensíveis - CCBB RJCentro Cultural Banco do Brasil Rio de Janeiro

ARGENTINA-URUGUAI

Perhaps one of the most prominent figures in the genealogy of abstract art in Latin America has been Joaquín Torres-García. His pioneering work in the creation of a mythology of the work of art as a manifestation of the Universal Absolute can be seen in the directions taken by his artistic contemporaries in Uruguay, whilst it also makes itself felt in the exchange of ideas with the Argentineans forming the Madi group. Both constitute a nucleus that serves as a benchmark for the poetics of the southern part of the continent, breaking down the frontiers of bi-dimensional art and exploring the limits of representation. 

Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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From the 1930s on, Torres-García focused his attention on the structure of the work of art, as the carrier of an interior order and nucleus of the vital impulse that animates art.

Untitled (Quien reloj-forma), Héctor Ragni, 1936, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Untitled (Mito Veinte Cosmos), Héctor Ragni, 1936, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Grafismo Inciso con Dos Figuras, Joaquín Torres García, 1930, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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The challenge is to return the lost magical spirituality to art. This is why we find an interest in ancestral South American Traditions, as well as in the need to provide form for totemic constructions.

Numero Uno, Héctor Ragni, 1936, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Construcción, Alfredo Hlito, 1945, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Sem título, Antonio Llorens, 1952, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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El Gran Ritmo, Martín Blaszko, 1949, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Red, Blue, and Black Red, Blue, and Black, Cesar Paternosto, 1974, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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The animated structures of the Argentineans from the Madi group, formed in 1946 on the other hand, show a belief in the rupturing of the linearity of the canvas.

Red, Blue, and Black Red, Blue, and Black, Cesar Paternosto, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Amarillo Japón, Eduardo Ramírez Villamizar, 1957, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Composição (composition), Maria Freire, 1954, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Homenaje a Livio Abramo, Maria Freire, 1957, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Sem título, Mathias Goeritz, 1959, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Escultura articulada, Maria Freire, 1951, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Parabolica, Gyula Kosice, 1960, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Sem título, Feliza Bursztyn, 1972, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Mascara, Edgar Negret, 1974, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Years later, the objects now created by Colombian artist Edgar Negret are based upon a study of the geometric order that regulates the constructions of the Inca Empire.

Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Galerias Construções Sensíveis - CCBB RJ, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Untitled (from the Notebook series), Mira Schendel, 1971, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Caderno Minimalista I, II, III, e IV, Mira Schendel, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Toquinho No. 41, Mira Schendel, 1973, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Toquinho No. 40, Mira Schendel, 1972, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Trajectory I; From the series "Livros Objetos" (Book Objects), Anna Maria Maiolino, 1999, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Construccion en blanco y negro, Alfredo Volpi, 1950, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Untitled (From Projectos Construidos), Anna Maria Maiolino, 2004, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Depois do Centro, Anna Maria Maiolino, 1974, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Velas Nocturnas, Alfredo Volpi, 1950, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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Untitled (Estrutura Dimensional), Geraldo de Barros, 1953, From the collection of: Centro Cultural Banco do Brasil Rio de Janeiro
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