Carlos cruz-diez facts for kids

Carlos Cruz-Diez’s Exhibitions

He participated in the renowned group show Perceptive eye at the MoMA in 1965, which was unfortunately not well received by the critics. In the ’70s, the artist began implementing his ideas and work in urban spaces. In 1970 he participated in Venice Biennale representing Venezuela and was the recipient of the Prize for Painting at the São Paulo Biennale. Besides installations, he created numerous architectural models, paintings, silk-screen prints, and videos. In his honor, Caracas opened Carlos Cruz-Diez Print and Design Museum in 1997. In 2014 the Cruz-Diez Foundation created by his family published his memoirs titled Living in Art: Memories of What I Remember.

Featured image: Portrait of Carlos Cruz-Diez. Photo by Rolando de La Fuente.

All images copyright of the artist

The Legacy of Carlos Cruz-Diez

Carlos Cruz-Diez published Reflexión sobre el color in 1989. It was reissued in 2009. His memoir Vivir en Arte, recuerdos de lo que me acuerdo was published in 2019.

He has been the recipient of many awards, from many countries, including the Gold Medal from the Norwegian International Print Triennale in 1992, the Golden Medal from the Americas Society/Council of the Americas in New York in 2011, the Rank of Officer of the National Order of the Legion of Honor in Paris in 2012, the Doctor Honoris Causa from the Universidad Central in Caracas in 2014, and the Turner Medal from City University in London.

His works are included in the permanent collections of MoMA, New York. the Tate Modern in London, Musée d’Art Moderne de la Ville de Paris, Centre Pompidou, the Museum of Fine Arts, Houston and the Wallraf-Richartz Museum in Cologne.

Early Life and Education

Cruz-Diez was born in Caracas, Venezuela on Aug. 17, 1923. His father was a chemist and amateur poet. Cruz-Diez showed an interest in art, color and light at a young age, initially, he said, when he visited the plant where his father worked and where he became transfixed by the sunlight streaming through the glass cola bottles in the factory, that projected red beams of light onto his white shirt. His parents encouraged him to pursue a career in art.

In 1940, at the age of seventeen, Cruz-Diez attended the School of Fine Arts in Caracas. It was there that he met Alejandro Otero and Jesus Rafael Soto. The three friends became the best-known Venezuelan artists of the twentieth century.

Career

In 1946 Carlos Cruz-Diez began working for the agency McCann-Erickson as their Creative Director. Cruz-Diez was kept extremely busy with his work at the agency, but continued making the figurative art that he worked during that period. In 1953 he began working as a professor at his alma mater, but then moved to Barcelona with his wife and two children in 1955. By this time his interest in abstract and interactive art had been stirred, and he began branching out into other forms as well. Cruz-Diez was interested in moving to Paris from the moment he arrived in Barcelona, but didn’t speak French. He traveled many times to Paris during his time in Barcelona, but in 1956 decided that it would be better living in Venezuela after all. However, it became difficult to earn money and realize his projects, and in the end he was forced to take a job as a graphic designer, though he also worked at the Escuela de Periodismo at the Universidad Central in Caracas from 1958 onwards. His studies in color and light had begun in about 1957, and he created “Physichromie”, or “Physical Color”, in 1959.Cruz-Diez and his family moved to Paris in 1960, and settled there. He met a number of other South American artist there, and was soon a part of the art scene in the city. The family kept their ties to Venezuela alive, visiting the country often. Cruz-Diez taught for a year at the Unité d’Études et Recherches d’Arts Plastiques at the Université Panthéon-Sorbonne in 1972. Cruz-Diez began working on further researches in color during these years, and apart from exhibitions of his work, also began working on large-scale public art projects. Cruz-Diez was appointed Head of the Art Department at the Instituto de Estudios Avanzados in Caracas in 1986, a position he held till 1993. The first edition of his book, “Reflections on Color” was published in 1989. The Fundación del Museo de la Estampa y del Diseño Carlos Cruz-Diez was established in Caracas in 1997, and the artist was appointed President of the institution for life. The Fondation Cruz-Diez was set up in 2005 to preserve the heritage of the artist’s work in color and light. The artist became a French citizen in 2008, close to 50 years after his arrival in Paris. A major exhibition of his work was held at the Museum of Fine Arts in Houston in 2011. The following year he was made Officier de l’Ordre des Arts et des Lettres in Paris. The artist lives in Paris.

Украшения

Физихромия для Мадрида (1991), Парк Хуана Карлоса I, Мадрид, Испания .

Гран-при 1966 года, III биеннале американского искусства, Национальный университет Кордовы , факультет точных наук, Кордова, Аргентина.
1967 Международная премия в области живописи, IX биеннале в Сан-Паулу, Сан-Паулу, Бразилия.
1969 Вторая премия, Международный фестиваль живописи, Замок-музей Кань-сюр-Мер, Кань-сюр-Мер, Франция.
1971 Национальная премия в области пластических искусств , Национальный институт культуры и изящных искусств (INCIBA), Каракас, Венесуэла.
1976 Премия за интеграцию искусств, VI Биеннале архитектуры, Колледж архитекторов Венесуэлы, Каракас, Венесуэла.
1981 Орден Андреса Белло I степени, Каракас, Венесуэла.
2002 Commandeur de l’Ordre des Arts et des Lettres , Париж, Франция.
2006 Доктор Honoris Causa , Дом приходского священника, Университет Симона Боливара , Каракас, Венесуэла.
2007 Почетный доктор искусств, Университет Лос-Андес , Мерида, Венесуэла.
2008 Почетная медаль города Марсиньи, Марсиньи, Франция.
2010 Премия AICA 2009, Международная ассоциация искусствоведов , Каракас, Венесуэла.
2011 Золотая медаль Общества Америк, Cipriani Wall Street, Нью-Йорк, США. Премия вручена в рамках 31-й ежегодной весенней вечеринки, организованной Американским обществом.
2011 Приз лучшему живому художнику на ярмарке Estampa 2011, Мадрид, Испания. Премия вручена в рамках 31-й ежегодной весенней вечеринки, организованной Американским обществом.
2012 Орден Почетного легиона , официальная степень, Париж, Франция.
2012 Медаль искусств Паэса , Нью-Йорк, США. (ВАЕА).
Приз Penagos Drawing Prize 2012 , Фонд Mapfre, Мадрид, Испания.

Некоторые работы

Картина :

1959 Physichromie N ° 1, Каракас
1964 Physichromie n ° 142, Париж
1971 — Хроматическая индукция, Париж.
1993 Physichromie n ° 1.284, Париж

Работает интегрировано в архитектуру:

1971 Muro de color aditivo, Каракас
1973 ГЭС Санто-Доминго, Эдо. Мерида
1974 аэропорт Ambientación, Maiquieta, Caracas ( мозаика в Briare эмали )
1975 Хроматическая среда, UBS, Цюрих
1976 Двусторонняя физихромия, Венесуэльская площадь, Париж
1979 Физихромия, Мемориальный госпиталь Джексона, Майами
1981 Физихромный потолок, пешеходный мост на вокзале Сен-Кантен-ан-Ивелин
1982 Physichromie n ° 2001, Banco Consolidado, Нью-Йорк
1986 Хроматическая индукция, Форталеза, Бразилия
1991 Physichromy, Мадрид
1992 Индукция, Универсальная выставка Севильи
1997 Arc Induction, Эквадор
Индукция 1999 г., Гавана
2001 Cromovelas Induccion, Португалия
2002 Spirale, Корея
2004 Photo Coul, Центр Помпиду, Париж
2007 Оркестр молодых музыкантов, Каракас
2012 стадион Марлинс в Майами

Скульптуры:

1972 Column Chromointerférente, Колледж гондольеров, Ла-Рош-сюр-Йон

Его работы находятся в постоянных коллекциях культурных учреждений, таких как:

Музей современного искусства , Нью-Йорк ;
Тейт Модерн , Лондон ;
Центр Помпиду , Париж ;
Музей изящных искусств , Хьюстон ;
Музей Вальрафа-Рихарца , Кельн ;
Музей современного искусства города Парижа .

Среди его персональных и групповых выставок можно отметить, среди прочего:

Bewogen Beweging (El Movimiento), Stedelijk Museum , Амстердам , 1961 г.

Хромонасыщение на выставке » Динамо » . Век света и движения в искусстве. 1913-2013 , Национальные галереи Большого дворца, Париж, 2013

Часть 2 , Галерея Дениз Рене, Париж, 1964 г.
Отзывчивый глаз , Музей современного искусства , Нью-Йорк, 1965 г.
Свет и движение , Музей современного искусства города Парижа , 1967.
Крус-Диес: пять предложений по цвету, Galerie Denise René, Париж, 1969.
Венесуэльский павильон , XXXV — й Венецианской биеннале , Италия, 1970
Крус-Дьес: Дидактика и диалектика цвета. Intervenciones en la arquitectura , Музей современного искусства Каракаса , 1981 г.
Карлос Крус-Диез: Die Autonomie der Farbe , Музей Йозефа Альберса, Ботроп, Германия, 1988 г.
Красочная Эйфелева башня , Центр Помпиду , Париж, 2003 г.
Перевернутые утопии: авангардное искусство в Латинской Америке , Музей изящных искусств , Хьюстон, 2004 г.
Lo (s) Cinético (s) , Музей Национального центра искусств королевы Софии , Мадрид, 2007 г.
Создан (создан) Color , Americas Society (en) , Нью-Йорк, 2008 г.
Карлос Крус-Диес: El color sucede , Museu d’Art Espanyol Contemporani, Пальма-де-Майорка , 2009 г.
Карлос Крус Диез: воплощенный опыт цвета , Художественный музей Майами, Майами, 2010 г.

Хроматическая индукция на двойной частоте в Marlins Ballpark, Майами, США. 2012 — Размер 1,672.25 м 2 в Briare эмалей .

Хроматические помехи в окружающей среде: интерактивное пространство, Карлос Крус-Диес , Гуандунский художественный музей, Гуанчжоу, Китай, 2010 г.
Карлос Крус-Диез: Цвет в пространстве и времени , Музей изящных искусств , Хьюстон, 2011 г.
Карлос Крус-Диес: A cor no espaço e no tempo , Pinacoteca do estado, Сан-Паулу, 2012
Карлос Крус-Диез: El color en el espacio y en el tiempo , Museo Universitario Arte Contemporáneo (MUAC), Мексика, 2012
Световое шоу , Галерея Хейворд, Лондон, 2013
La Invención Concreta: Colección Patricia Phelps de Cisneros , Музей Национального центра искусств королевы Софии , Мадрид, 2013
Карлос Крус-Диез. Обстоятельства и неоднозначность цвета , Музей Академии изящных искусств (CAFA), Пекин, 2013 г.
Динамо. Век света и движения в искусстве, 1913-2013 гг. , Национальные галереи Большого дворца , Париж, 2013 г.
Внутри световой ловушки: Карлос Крус-Диес в черно-белом , Americas Society, Нью-Йорк, 2014.
Круз-Диез. Обстоятельства и неоднозначность цвета , Фонд Вазарели , Экс-ан-Прованс, 2014 г.

Career and Personal Life

Cruz-Diez supported himself during his school years by working as a graphic designer for Creole Petroleum. After graduating from the School of Fine Arts in 1945, he took a job as a creative director at the McCann-Ericsson advertising agency, while continuing to work on his own paintings.

He married Mirtha Delgado Lorenzo in 1951. They had three children. His early work consisted of figurative paintings, of the shantytowns and poverty brought about by the repressive regime of then dictator Marcos Pérez Jiménez. In 1955, Cruz-Diez visited his friend, Jesus Rafael Soto, who was living in Paris and whose work was included in a kinetic art show in a Paris gallery.

Seeing that show changed the direction of Cruz-Diez’s work. Before returning briefly to Caracas, he took a job teaching at an art school near Barcelona, during which time he studied French. His plan was to return to Paris to be part of the kinetic and Op-Art scene that was being explored there.

During his time in Spain, he exhibited sculptures that were part of a series called Objetos Ritmicos Moviles.

Cruz-Diez finally settled permanently in Paris. Throughout his career he experimented with colors…their interactions with each other and their effects on people, places and objects. “Color,” he said, “evolves continuously in time and space.”

As his work, and experiments, progressed, Cruz-Diez gained international acclaim. His work was part of the historic 1965 The Responsive Eye exhibition at MoMA in New York.

During his lifetime he created many interactive exhibits and was commissioned to do many public works at venues throughout the world, including the walkways at the Marlins Stadium in Miami.

Carlos Cruz-Diez died in Paris on July 27, 2019.

Carlos Cruz-Diez: Color in Space and Time

Museum of Fine Arts, Houston

A tranchromie, you say?—I’ll take five!

While in Houston, I scampered around town looking at as much art as I could with my favorite museum pal Margarete. This included going to the Museum of Fine Arts, Houston. I always enjoy seeing how encyclopedic museums display their collections, Pre-Columbian collections in particular. Coming from LA, I’m now accustomed to LACMA’s Jorge-Pardo-designed galleries. The Pre-Columbian galleries at the MFAH are fairly standard, but contain hoards of gold. This is because the Spanish conquistador, Alfredo Glassello bequeathed his Aztec and Incan booty to the MFAH. Not really, but an oil man and MFAH trustee, Alfred C. Glassell, Jr., did. “As a life-long collector of Asian, Pre-Columbian, and African art, he donated his excellent and extensive collections to the Museum of Fine Arts, Houston. These works, primarily of precious gold, are without parallel.” This would explain the gold rooms, one of Pre-Columbian artifacts, and on the other side of the building, a hall of golden African objects.

A chromosaturacion, so much more than drywall and florescent light.

After seeing all this glitz, I was ready for a (free) temporary exhibition. At the moment (until July 4) the MFAH has Carlos Cruz-Diez: Color in Space and Time. I first experienced the Venezuelan artist’s work last winter in MOCA’s Suprasensorial show. MOCA included one of Cruz-Diez’s cromosaturacions, an interactive, enclosed space made of drywall, and filled with colored light. The MFAH show also includes a cromosaturacion work, but sooooo much more.

Going through the retrospective of Cruz-Diez’s work is amazing; you can see how his work was a product of its time, and really a product of each decade. His earliest works look like they would be at place in Roger Sterling’s office. Later works, because of changing forms and changing color palettes, look like they would be awesome paired with a lava lamp. Later works take on more pastel hues of the 80s. And so on.

Work from the 50s, 60s, and 70s.

A full range of Cruz-Diez’s work is explored in the exhibition of over 150 works, from his “paintings,” which are only activated by passing in front of them, to his interactive environments, to his large-scale architectural investigations across the globe (documented in a video projection). This exhibition might be my favorite exhibition I’ve ever seen, and I went twice to see it in four days. It was perfect, with one exception: the curators tried to get clever at the end of the installation with large photos that you had to look at with 3D glasses. I’m no fan of 3D, and this portion of the exhibition seemed unnecessary. Cruz-Diez’s op art is already so trippy, why would you need to look at it through 3D glasses.

An Induction from the 80s and a Fisicromia from the 90s.

The exhibition is jointly presented by the MFAH, and the Cruz-Diez Foundation, Houston, which has been hosted at the museum since 2008. I’m not sure how this partnership works exactly. The Foundation’s primary goals are: to disseminate Carlos Cruz-Diez’s investigations, to extend his ideas and contributions towards new generations, and to conserve and increase his archives in a professional documentation center. I guess they’re doing those things with this exhibition.

The exhibition continues in two locations. First in the gift shop, where all kinds of Cruz-Diez merchandise is offered. Someone buy me this tie! Second is outside at street level: five Cruz-Diez crosswalks that connect to the museum. The crosswalks were acquired by the museum a few years ago, and they’ve aged a bit, but are still very striking. This whole exhibition is striking, so if you live in Houston or are visiting soon, go immediately.

Virgin America should paint their planes this way.

– H.I.

P.S. Check out this awesome Carlos Cruz-Diez app for ipad!

https://youtube.com/watch?v=uVMdYSvxWuw

Saturated in Color

Though the artist was 95 years old, those who were close to Cruz-Diez were nonetheless surprised by his sudden passing, since he remained vibrant and active until the end. One of his most recent installations was in fact also one of his most ambitious—the stunning re-imagining of his 1974 light and color projection “Spatial Chromointerference” inside the 87,000 sq. ft. Buffalo Bayou Park Cistern in Houston, Texas, which just closed on 7 April 2019. The original 1974 version was installed inside of a utilities warehouse in Caracas, the color projected onto the surfaces of the space with slide projectors. Its contemporary manifestation was achieved with 26 digital projectors, which were capable of achieving more pure color, and wrapping the projections around the immensely complicated interior features of the Cistern. Each visitor to the installation became part of the work as the projectors bounced color and light off of their bodies and clothes. The work thus changed with every movement of every body that entered the space—the fulfillment of the notion that art is for everyday people, and fundamental to everyday life.

Carlos Cruz-Diez studio. Photo courtesy: IdeelArt.

Chromosaturations was the name Cruz-Diez gave to such works as “Spatial Chromointerference.” Not all Chromosaturations were so complex; some were as simple as a light projecting color into single room. The purpose is simply to instigate a situation in which a viewer can have their perception challenged. At first, perhaps, viewers may just confront the fact that light and color are inseparable from each other—an idea that Cruz-Diez considered a top priority in his work. But next, they might realize that not only has the room been changed by the color and light, but their own body and clothes have also been changed. The change is both real and unreal; complete, yet also superficial. As the concrete reality of a Chromosaturation changes with every new viewer who passes through it, the meaning of the work also fluctuates according to their inner perceptions. In this subtle way, Cruz-Diez was constantly reminding us that everything is in a constant state of change, and that nothing can be understood from only a single point of view.

Analysis

Cruz-Diez let the primary colors mix and meld perfectly, creating a sort of rainbow effect. The spectators in this art project will become actors and, at the same time, the authors of a complete chromatic event. This must-see work creates a spatial situation aimed at dematerializing objects and people.

Spatial Chromointerference is one of the largest installations by Cruz-Diez and certainly one of his most outstanding works.

All images: Paul Hester for Carlos Cruz-Diez / ADAGP, Paris 2018 unless otherwise noted.

Location

The site-specific environment was created at the Buffalo Bayou Park Cistern. This place is a 1926 underground water reservoir that got restored and eventually revealed in 2016. The cistern didn’t have any of its own embellishment. For that reason, the colors, the line, and movement created here completely dematerialize the unique space.

The work installed previously, Magdalena Fernández’s Rain, was another silent and immersive masterpiece.

Magdalena Fernández – 2iPM009, 2009, video projection, 1 min 56 sec, installation view, Buffalo Bayou Park Cistern, photo: CC BY-NC 2.0 by AlphaTangoBravo / Adam BakerMagdalena Fernández – 2iPM009, 2009, video projection, 1 min 56 sec, installation view, Buffalo Bayou Park Cistern, photo: CC BY-NC 2.0 by AlphaTangoBravo / Adam Baker

How it was created

Spatial Chromointerference involves projections of different colors, including green, blue, and red, illuminating the corners and the columns of the cistern. Twenty-six projectors let the light hit and rebound off the wall to create optical illusions. Additionally, white cubes are floating on the floor. Reflections on the water further enhance the visual impact.

The cisterns’ concrete walls serve as the blank space where the light is transformed. Visitors become an integral part, both as a spectator and an object of transformation, losing their materiality. Color is not merely an effect but something meant to experience.

Carlos Cruz-Diez – Spatial Chromointerference, 2018, 26 projectors, 30 cubes, installation view, Buffalo Bayou Park Cistern, 2018-2019Carlos Cruz-Diez – Spatial Chromointerference, 2018, 26 projectors, 30 cubes, installation view, Buffalo Bayou Park Cistern, 2018-2019Carlos Cruz-Diez – Spatial Chromointerference, 2018, 26 projectors, 30 cubes, installation view, Buffalo Bayou Park Cistern, 2018-2019

Embracing the Illusion of Movement

Carlos Cruz-Diez was born in Caracas, Venezuela and studied Visual Applied Arts at the Escuela de Bellas Artes. At the same time, he worked for several major magazines in Venezuela, such as El Farol and La Esfera, as a designer and illustrator. However, his major artistic breakthrough happened after the move to Spain. There he created abstract compositions Objetos Rítmicos Móviles and Parénquimas. After a brief visit to Paris, he returned to Venezuela and opened Estudio de Artes Visuales, where he explored the optical and kinetic forms in art. Over time the investigation evolved into a movement thanks to Alejandro Otero and Jesús Rafael Soto. In the 1960s, he permanently relocated to Paris with his family.

Cruz-Diez created the illusion of movement by utilizing lines of contrasting colors, the so-called Moiré effect that can best be seen in his series titled Physiochrome. For a time he worked as a teacher at the École Nationale Supérieure des Beaux-Arts. The French government awarded him the medal of Commandeur de l’Ordre des Arts et des Lettres in 2002.

Carlos Cruz-Diez — Transchromies a 6 elements, 2010. Object; 54 x 20 x 20 cm

Работа

Отражение цвета

Plaza Cruz-Díez в университетском комплексе La Hechicera ULA в Мериде, Венесуэла .

Большинство его размышлений исходит из того, что он называет поддержкой хроматических событий. Его работы показывают, что цвет при взаимодействии с наблюдателем становится автономным событием, способным развиваться в реальном времени и пространстве, без всякого анекдота и без помощи формы или пространственной поддержки. ]

Расследования

Круз-Диз сосредоточил свое исследование на диссоциации бинома форма-цвет, предложив освободить цвет от формы. Начиная с фрагментации плоскости, он использует хроматические событийные модули (серии линий в строго запрограммированном порядке) для доказательства своих теоретических постулатов о цвете.

Двойная вогнуто-выпуклая работа Physichromy, расположенная на площади Венесуэлы в Каракасе в честь Андреса Белло .

Таким образом, ромбы и другие формы, которые появляются в его работах, не являются условными в традиционном смысле этого слова; они являются результатом накопления модулей, которые путем наложения и повторения создают виртуальные формы, такие как квадраты, треугольники, прямоугольники или другие.

Создав свою концептуальную платформу в Каракасе с 1959 года, Круз-Диез жил в Париже с 1960 года с целью разработки и структурирования различных опор, которые позволили бы ему материализовать свой художественный дискурс. Таким образом, в период с 1959 по 1995 год он провел восемь исследований, которые показывают различное поведение цвета: Addition Chromatique, Physichromie, Induction Chromatique, Chromointerference, Transchromie, Chromosauration, Chromoscope и Couleur dans l’espace. ]

Интеграция в городское пространство и архитектуру

За последние 50 лет Cruz-Diez выполнил работы городского и монументального масштаба в разных странах:

Вид на работу Карлоса Крус-Диеса на проспекте Боливара , Валенсия, Венесуэла .

Модная интеграция

В 2009 году венесуэльский учитель и дизайнер Оскар Карвалло впервые собрались вместе на мероприятии в Музее декоративного искусства в Париже.

В январе 2014 года Крус-Диез и Карвалло представили коллекцию Voyage Cinétique II на Неделе моды в Париже, объединив кинетическое искусство и моду. ]

Exhibitions

Physichromies de Cruz-Diez: Oeuvres de 1954 à 1965, Galerie Kerchache, Paris, France, 1965.
Cordoba Has III Bienal Interamericana de Arte, Cordoba, Argentina, October 1966.
Physichromies, Couleur Additive, Induction Chromatique, Chromointerferences, Galerie Denise René, 1971, New York, NY.
Venezuelan Art Show presented by the Consulate General of Venezuela, Galeria Venezuela, New York, NY, October 1980.
Geometric Abstraction: Latin American Art from the Patricica Phelps de Cisneros Collection, Fogg Art Museum, Harvard University, Cambridge, MA, August–November 2001.
Geométriques et cinétiques, Gabinete de Arte Raquel Arnaud, São Paulo, Brésil Cruz-Diez, Galerie d’art de Créteil, France. Cruz-Diez, Galerie Lavigne Bastille, Paris, 2002.
Couleur événement, Galerie Lavignes Bastille, Paris, 2004.
Carlos Cruz-Diez: (In)formed by Color, Americas Society, New York, NY, 2008.
Cruz-Diez, 50 ans de recherche, Galerie Lavigne Bastille, Paris, from November 2009 to March 2010.
Carlos Cruz-Diez: El color en el espacio y en el tiempo, MALBA, Buenos Aires 2011.
Circumstance and Ambiguity of Color, at Maxwell Davidson Gallery, New York, NY, from 2 May to 28 June 2013.
Carlos Cruz-Diez in Black & White, Americas Society, New York, NY, 2014.
Carlos Cruz-Diez: Evolving Color, Louis Stern Fine Arts, West Hollywood, CA, from 17 May until 26 July 2014.
Transfiguration de la couleur, at Marlborough Gallery, Monaco, from 19 March until 26 May 2015.
Chromatic Transfiguration, at Maxwell Davidson Gallery, New York, NY, from 28 May to 3 July 2015.
Light Show, Museum of Contemporary Art, Sydney, Australia, from May to 5 July 2015.’
Didaktik und dialektik der farbe, Kleine Museum, Weißenstadt, Germany, from 7 July to 17 October 2015.
Carlos Cruz-Diez: Mastering Colour, at Puerta Roja, Hong Kong, from 18 March to 25 May 2017.
Carlos Cruz-Diez: Luminous Reality, at Phillips Gallery, London, UK, from 16 July to 6 September 2018.
Carlos Cruz-Diez: Chromosaturation (Cromosaturación), at Pérez Art Museum Miami, United States, from June 10, 2022 to September 25, 2023.

Произведение искусства

Отражение цвета

«Я предлагаю автономный цвет. Без анекдота, без символики, как эволюционный факт, который касается нас. »

Пластическое отражение Круз-Диеса изменило представление о цвете в искусстве . Большая часть его исследований берет свое начало в том, что он называет «опорами для хроматических событий». Его работы подчеркивают взаимодействие между цветом и зрителем, демонстрируя, в частности, как цвет, когда он впервые взаимодействует со зрителем, становится автономным событием, способным развиваться в реальном времени и пространстве, без каких-либо анекдотов или даже с помощью форма или опора.

«С помощью своей хроматической траектории я пытаюсь выделить цвет как эфемерную и автономную ситуацию. Цвет в постоянной мутации, создавая автономные реальности. Это реальность, потому что эти события происходят в реальном времени и пространстве, без прошлого и будущего, в вечном настоящем. Он автономен, потому что выделяется вне зависимости от какого-либо анекдота или формы, или даже от опоры, которую зритель привык видеть в живописи. Так устанавливается другая диалектика между зрителем и произведением, иное отношение знания. »

The 1974 edition of the work

Spatial Chromointerference was now shown for the second time. In 1974 it was first installed at the Museo de Arte Contemporáneo de Caracas in the artist’s native country Venezuela. The older version was made with slide projectors so that the projectors could fit the installation site.

In the 2018 version, modern technology has improved the whole work. Unlike the hustle the installers had to pass through in 1974, the advancement in projector technology opened more possibilities. Now the artists can have a much improve maximum strength of the colors. More progress in technology might make this work even more accessible in the future.

Carlos Cruz-Diez – Ambientación Cromointerferente, 1974, light projection, 2.50 x 5 x 5 m (8.20 x 16.40 x 16.40 ft), installation view, Carlos Cruz-Diez, Museo de Arte Contemporáneo de Caracas, Venezuela, photo: Atelier Cruz-Diez ParisCarlos Cruz-Diez – Ambientación Cromointerferente, 1974, light projection, 2.50 x 5 x 5 m (8.20 x 16.40 x 16.40 ft), installation view, Carlos Cruz-Diez, Museo de Arte Contemporáneo de Caracas, Venezuela, photo: Atelier Cruz-Diez Paris

Technology of Color

During the mid-fifties, Cruz-Diez finished eight investigations about the conduct of color in paintings, such as Chromatic Induction, Color in Space, Chromosaturation, and Additive Color. The artist created exquisite works where the viewer was an active participant. Thus, he succeeded in shifting the established perception that color is a fixed property of matter. During the 60s, he debated his ideas with prominent artists such as Morellet, Agam, Lygia Clark, Tinguely, and Camargo. About his artwork Cruz-Diez said:

They serve as support for an event that evolves in real time and space, and change with the shifting of light and the distance of the observer. They are autonomous situations, devoid from anecdotes, in which the viewer witnesses color being raveled and unraveled, with no past or future, in an everlasting present.

Carlos Cruz-Diez — Serie Semana — Miércoles, 2013. Lithograph; 60 x 60 cm

Solo Exhibitions (Selected)

2002

Geométricos y cinéticosGabinete de Arte Raquel Arnaud – São Paulo, Brazil2002

Galerie d’Art de Créteil – Créteil, France2002

1998

Carlos Cruz-Diez, un pionero del diseño en VenezuelaMuseo de la Estampa y del Diseño Carlos Cruz-Diez – Caracas, Venezuela1998

1982

Didactique et Dialectique de la CouleurCentre Culturel Noroit – Arras, France1982

Didáctica y Dialéctica del ColorMuseo Carrillo Gil de Arte Contemporáneo – Mexico, Mexico1982

1981

Didáctica y Dialéctica del ColorMACCSI Museo de Arte Contemporáneo de Caracas Sofía Imber – Caracas, Venezuela1981

Didáctica y Dialéctica del ColorCasa de las Américas – Havana, Cuba1981