CON UN POCO

DE SANGRE RUSA

Ascendentes comunistas

de creatividad plástica

primera parte

 

 

 ▪ “When I began in the abstraction had passed only four decades since Malevich had painted, in 1911, the White over white. A day in view of a Hans Arp sculpture I underwent a definitive conversion…” - Manuel Felguérez 2002. - ▪ Thus was as Manuel Felguérez yielded to the sirens not only of the abstraction, but he was seduce by the Russian constructivism, and running time, few years later the Abstract Art Manuel Felguérez Museum, located in the baroque capital, was painted somewhat of it’s same color vermilion, as would say Sócrates in its dialogue with Pole, explain the object product of the subject, is covered with the same quality whereupon the subject  had.  ▪ That would say so many snob people, if they knew that as grandparents or greats-grandfathers of our artistic ascendants, we have  a group of reds Communists, those pure blod, whose in different exhibitions and manifest they declared in loud voice and its wide, that the art would have to being an masses instrument,  utilitarian and in favor of a progressive state and in the way to make the individual emancipation.  God forbid me!, if only the conservative and protective minds of our traditions, would open the chests of history and memory to discover that behind those contemporary expressions there is at least a slight graft of Comunism, the good one like Lenin’s, the one of Marx. ▪ But doesn’t have of which to worry nowadays, with so much tv and so many media and consumer goods, “those cysts so are disabled to become in a tumor as cancer with chemotherapy”, would say our friend L. Armando. ▪ In the same way we have to know that here in Zacatecas we have the ability to joing two wire termilas without raising spark.

 

      

                          

Black over White                          Malevich.

Built heat N°. 2  Naum Gabo.

 

 ▪ Other readers will also take a calmed attitude thinking is nothing  unusual about it. ▪ On the other hand, those tendencies, baggage and influences that appears in this Museum becomes a mixture better an bigger than “moles”( adding an cooking example) and offers us a great amount of diversity forms, visions, beliefs, searches, etc., anyway, ways with which the ARTISTIC EXPRESSION has developed. ▪ Then, what’s with this? , the answer is clearly, if the contemporary artists only add  steps on the existing ones, will be necessary  not only know how the previous are rich, to have at least a brief idea of  quality, its forces, durability and any other quality that they have in order to not  fall in absurd, trying to invent the weels. ▪ Then, taking the know-how, is the minimum threshold that any creator would have to have to accede to an intellectual support, if thus he wants to have a development route.

 

 

model of monument representing  the spirit releasing

Anton Pevsner

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