The New York Times
‘Alternative Modernism via South America’
2 April 2009
Roberta
Smith
The New
York Times Roberta Smith, April 02 2009
The New York Times Roberta Smith, April 02 2009
The New York Times Roberta Smith, April 02 2009
Alternative
Alternative Modernism
Modernism via
via South
South
Alternative
Modernism
via
South
America
America
America
At least one work in “Tangled Alphabets: León Ferrari and Mira Schendel” at the Museum of
At least one work in “Tangled Alphabets: León Ferrari and Mira Schendel” at the Museum of
Modern
some Alphabets:
hackles. ItLeón
is “Last
Judgment”
Mr. Ferrari,
an Museum
Argentine
At least Art
oneshould
work inraise
“Tangled
Ferrari
and MirabySchendel”
at the
of artist
Modern Art should raise some hackles. It is “Last Judgment” by Mr. Ferrari, an Argentine artist
born
in 1920
who raise
is still
active.
It consists
a large reproduction
Modern
Art should
some
hackles.
It is “LastofJudgment”
by Mr. Ferrari,ofanMichelangelo’s
Argentine artist “Last
born in 1920 who is still active. It consists of a large reproduction of Michelangelo’s “Last
Judgment”
fresco
in isthestill
Sistine
Chapel
that Mr.
sitting beneath
a cage of pigeons.
born in 1920
who
active.
It consists
of Ferrari
a large left
reproduction
of Michelangelo’s
“Last
Judgment” fresco in the Sistine Chapel that Mr. Ferrari left sitting beneath a cage of pigeons.
Judgment” fresco in the Sistine Chapel that Mr. Ferrari left sitting beneath a cage of pigeons.
The whitish substance dotting much of the image has a beautiful softness reminiscent of volcanic
The
whitish
substancedotting
dottingmuch
much of
image
a beautiful softness
reminiscent
of volcanic
The damp,
whitishblossoming
substance
thethe
image
hashas
a beautiful
reminiscent
of volcanic
ash;
plaster; andofloosely
brushed
oil paint.softness
A mechanical
reproduction
of the
ash;
damp,
blossomingplaster;
plaster;and
and
loosely
brushed
oil
paint.
A mechanical
reproduction
of the
ash;
damp,
blossoming
loosely
brushed
oil
paint.
A
mechanical
reproduction
of
the
best-known depiction of the world’s end becomes an object that is either riddled with decay or
best-known
depictionofofthe
theworld’s
world’send
end
becomes
object
is either
riddled
with decay
or
best-known depiction
becomes
an an
object
thatthat
is either
riddled
with decay
or
luxuriantly hand-worked. Michelangelo may have populated his fresco with the minions of the
luxuriantly
hand-worked.Michelangelo
Michelangelo
may
have
populated
his fresco
the minions
luxuriantly hand-worked.
may
have
populated
his fresco
with with
the minions
of theof the
Devil, but Death itself seems to be seeping gently through the walls of Mr. Ferrari’s version.
Devil, but Death
seeping
gently
through
the the
walls
of Mr.
version.
Devil,
Deathitself
itselfseems
seemstotobebe
seeping
gently
through
walls
of Ferrari’s
Mr. Ferrari’s
version.
First made in 1985, “Last Judgment” neatly combines Process Art, appropriation art and political
First made
made in
neatly
combines
Process
Art, Art,
appropriation
art and
First
in 1985,
1985,“Last
“LastJudgment”
Judgment”
neatly
combines
Process
appropriation
artpolitical
and political
provocation. A violated ready-made (like Duchamp’s mustachioed Mona Lisa), it hangs in the
provocation.
A
violated
ready-made
(like
Duchamp’s
mustachioed
Mona
Lisa),
it
hangs
in thein the
provocation. A violated ready-made (like Duchamp’s mustachioed Mona Lisa), it hangs
final
gallery
of
the
Modern’s
show
a
few
feet
from
a
polar
opposite:
“Still
Waves
of
Probability
final gallery
gallery of
feet
from
a polar
opposite:
“Still“Still
Waves
of Probability
final
of the
theModern’s
Modern’sshow
showa few
a few
feet
from
a polar
opposite:
Waves
of Probability
(Old
Kings19)”
19)”by
byMs.
Ms.Schendel
Schendel
(1919-1988),
a Brazilian
artist.
(OldTestament,
Testament, II Kings
(1919-1988),
a Brazilian
artist.
(Old Testament, I Kings 19)” by Ms. Schendel (1919-1988), a Brazilian artist.
The
of “Still
“StillWaves”
Waves”may
mayalso
also
raise
hackles.
It consists
of thousands
of strands
of
Thesheer
sheer simplicity
simplicity of
raise
hackles.
It consists
of thousands
of strands
of
The sheer simplicity of “Still Waves” may also raise hackles. It consists of thousands of strands of
nylonthread
thread hanging
hanging to
jeweler’s
eye-hooks
covering
a 12-by-14-foot
area in
nylon
to the
thefloor
floorfrom
fromtiny
tiny
jeweler’s
eye-hooks
covering
a 12-by-14-foot
area in
nylon thread hanging to the floor from tiny jeweler’s eye-hooks covering a 12-by-14-foot area in
thegallery’s
gallery’s 18-foot-high
18-foot-high ceiling.
thethe
threads
form
a silvery,
wafting,
quasi-quasithe
ceiling.InInsuch
suchquantity,
quantity,
threads
form
a silvery,
wafting,
the gallery’s 18-foot-high ceiling. In such quantity, the threads form a silvery, wafting, quasivisible
shaft
that
could
almost
be
light
or
rain.
Hanging
nearby,
a
sheet
of
clear
plexiglass
is
visible shaft that could almost be light or rain. Hanging nearby, a sheet of clear plexiglass
is
visible
shaft
that
could
almost
be
light
or
rain.
Hanging
nearby,
a
sheet
of
clear
plexiglass
is
printed
with
a
quotation
from
I
Kings
19
concerning
the
voice
of
God,
which
is
not
found
in
wind,
printed with a quotation from I Kings 19 concerning the voice of God, which is not found in wind,
printed
withora quotation
I Kings 19 concerning
voice
of God,
whichmatter
is not found
wind,
earthquake
fire, but isfrom
voice.”the
The
religious
subject
is not in
earthquake
or fire,
but is simply
simply“a“astill
stillsmall
small
voice.”
The
religious
subject matter
is asnot as
earthquake
simplypiece,
“a still
voice.” The
is not as
embedded asoritfire,
is inbut
the isFerrari
but small
“Still Waves,”
fromreligious
1969, is subject
an early matter
and rather
embedded as it is in the Ferrari piece, but “Still Waves,” from 1969, is an early and rather
embedded
it is inofthe
Ferrari piece, but “Still Waves,” from 1969, is an early and rather
monumentalasinstance
Post-Minimalism.
monumental instance of Post-Minimalism.
monumental instance of Post-Minimalism.
“Tangled Alphabets” is the Modern’s latest attempt to explore modernisms beyond the narrow
“Tangled Alphabets” is the Modern’s latest attempt to explore modernisms beyond the narrow
Euro-American
versionisthat
did so much
to lock
in place.
Organized
by Luis Pérez-Oramas,
“Tangled
Alphabets”
theitModern’s
latest
attempt
to explore
modernisms
beyond thethe
narrow
Euro-American
version
that
it did so
much
to lock in
place.for
Organized
by Luis Pérez-Oramas,
the
museum’s
curator
of
Latin
American
art,
it
is
essential
viewing
anyone
interested
in
20thEuro-American version that it did so much to lock in place. Organized by Luis Pérez-Oramas, the
museum’s curator of Latin American art, it is essential viewing for anyone interested in 20thmuseum’s curator of Latin American art, it is essential viewing for anyone interested in 20th-
The New York Times
‘Alternative Modernism via South America’
2 April 2009
Roberta Smith
The
York Times
Times Roberta
RobertaSmith,
Smith,April
April02
022009
2009
The New
New York
century
and often
often displays
displaysaataut
tautaesthetic
aestheticrepartee.
repartee.But
Butititalso
alsosometimes
sometimes
feels
halfhearted.
century art
art and
feels
halfhearted.
The
release lauds
lauds Ms.
Ms. Schendel
Schendel and
and Mr.
Mr.Ferrari
Ferrariasas“two
“twoofofthe
themost
mostimportant
important
South
The news
news release
South
American
artists of
of the
the 20th
20th century.”
century.”But
Butthe
thecombined
combinedretrospectives
retrospectivessuggest
suggest
unwillingness
American artists
anan
unwillingness
to
Wedging aa double
doublesurvey
surveyinto
intogalleries
galleriesusually
usuallyoccupied
occupiedbyby
single
ones
doesn’t
help.
to commit. Wedging
single
ones
doesn’t
help.
Still,
Alphabets” brings
brings together
togethermore
morework
workbybyMs.
Ms.Schendel
Schendeland
andMr.
Mr.
Ferrari
than
Still, “Tangled Alphabets”
Ferrari
than
hashas
been
North American
Americanmuseum.
museum.ItItopens
opensa awindow
windowonona acomplex
complex
regional
artistic
history
been seen in a North
regional
artistic
history
similar to that of
of of
both
similar
of the
the United
United States
States inin its
itsassimilation
assimilationofofEuropean
Europeanmodels,
models,embrace
embrace
both
abstraction and popular
find
abstraction
popular culture
culture and
and oscillation
oscillationbetween
betweenpurity
purityand
andpolitics.
politics.Expect
Expectto to
find
analogies here to
artart
and
analogies
to Abstract
Abstract Expressionism,
Expressionism,Fluxus,
Fluxus,word
wordart,
art,Arte
ArtePovera,
Povera,appropriation
appropriation
and
even Neo Geo.
even
Ms. Schendel
Schendel and
together
only
once
in in
a a
Ms.
and Mr.
Mr. Ferrari
Ferrariknew
kneweach
eachother
otheronly
onlyslightly
slightlyand
andexhibited
exhibited
together
only
once
large group
group show.
Ferrari
is is
extroverted,
large
show. They
They represent,
represent,at
atheart,
heart,very
verydifferent
differentsensibilities.
sensibilities.Mr.
Mr.
Ferrari
extroverted,
even grandiose,
grandiose, and
course
of of
hishis
career
that
even
and peripatetic,
peripatetic,hitting
hittingso
somany
manydifferent
differentnotes
notesover
overthe
the
course
career
that
inevitably
more
than
a
few
are
off
key.
Ms.
Schendel
was
more
consistent,
an
introverted
purist,
a a
inevitably more than a few are off key. Ms. Schendel was more consistent, an introverted purist,
focused student
student of
fact.
focused
of Eastern
Eastern mysticism
mysticismand
andaaPost-Minimalist
Post-Minimalistbefore
beforethe
the
fact.
They both emerged in the 1960s, when progressive ideas flourished in art and politics, albeit
They both emerged in the 1960s, when progressive ideas flourished in art and politics, albeit
beneath the gathering clouds of military juntas. Their alignment is closest during these years,
beneath the gathering clouds of military juntas. Their alignment is closest during these years,
when both worked extensively with ink and paper, in vocabularies that mixed words, letters,
when both worked extensively with ink and paper, in vocabularies that mixed words, letters,
illegible writing and line, as well as aspects of transparency and automatism. In the show’s center
illegible writing and line, as well as aspects of transparency and automatism. In the show’s center
gallery, it is sometimes hard to know who did what.
gallery, it is sometimes hard to know who did what.
But they arrived at this common ground from different directions. Ms. Schendel, a Jew and
But they arrived at this common ground from different directions. Ms. Schendel, a Jew and
onetime poet, survived World War II, emigrating in 1949 from Sarajevo to Brazil, where she
onetime poet, survived World War II, emigrating in 1949 from Sarajevo to Brazil, where she
began to paint. Living in São Paulo after 1953, she met a German bookseller named Knut
began to paint. Living in São Paulo after 1953, she met a German bookseller named Knut
Schendel who became the father of her only child and then her husband. Her earliest works at the
Schendel who became the father of her only child and then her husband. Her earliest works at the
Modern are stiff, abstracted, Morandi-like still lifes from the mid-1950s.
Modern are stiff, abstracted, Morandi-like still lifes from the mid-1950s.
Contact with the Brazilian Neo-Concrete artists is reflected in the quirky, textured, nearly
Contact with the Brazilian Neo-Concrete artists is reflected in the quirky, textured, nearly
monochromatic paintings she made in the early 1960s. But, striving for something less rational
monochromatic paintings she made in the early 1960s. But, striving for something less rational
and more ephemeral, she found her true voice in a Zen-like visual poetry. It was created by
and
moredown
ephemeral,
herfingernail
true voice
Zen-likerice
visual
poetry.
was laminate
created by
pressing
— often she
withfound
only her
— in
on aJapanese
paper
laid onItglass
pressing
down
often
withsprinkled
only herwith
fingernail
covered with
ink—and
lightly
talc. — on Japanese rice paper laid on glass laminate
covered with ink and lightly sprinkled with talc.
The New York Times
‘Alternative Modernism via South America’
2 April 2009
Roberta
Smith
The New York Times Roberta Smith, April 02 2009
The New York Times Roberta Smith, April 02 2009
The technique unleashed an immense range of seismographic marks, symbols, letters, word
fragments
and unleashed
phrases that
soon spread
to ofthe
imposing two-sided
works she
called
Graphic
The technique
an immense
range
seismographic
marks, symbols,
letters,
word
fragmentsHere
and multiple
phrases that
soon
to the
imposing
shemarks
called and
Graphic
Objects.
sheets
of spread
rice paper
dotted
with two-sided
regimentsworks
of little
letters, as
Objects.
Here
multiple
sheets
of rice paper
dottedsheets
with regiments
of little
and letters,
as
well
as big
press
type, are
sandwiched
between
of plexiglass.
Themarks
disembodied,
translucent
well as big press
are sandwiched
between
sheets
plexiglass.
The
translucent
patchworks
and type,
textures
suggest different
layers
of of
sound
caught
ondisembodied,
scrims — black
on white, red
patchworks
textures
suggest different layers of sound caught on scrims — black on white, red
on
white andand
white
on white.
on white and white on white.
By 1964, Ms. Schendel was using her rice paper sculpturally, evolving forms that, concurrent with
By 1964, Ms. Schendel was using her rice paper sculpturally, evolving forms that, concurrent with
Eva Hesse’s, achieved a resonant fusion of organic and geometric. Weaving and knotting twisted
Eva Hesse’s, achieved a resonant fusion of organic and geometric. Weaving and knotting twisted
strands of it, she made odd, flexible forms that she called Little Nothings. These spheres and
strands of it, she made odd, flexible forms that she called Little Nothings. These spheres and
irregular nets evoke brains, vines, relaxed bodies and collapsed grids; they hover eerily between
irregular nets evoke brains, vines, relaxed bodies and collapsed grids; they hover eerily between
animate
and inanimate.
animate and inanimate.
Mr.
cameto
todrawing
drawingfrom
from
sculpture,
route
visible
in ceramic
vessels
from around
Mr. Ferrari
Ferrari came
sculpture,
hishis
route
firstfirst
visible
in ceramic
vessels
from around
1960,
taperingcurves
curvesevoke
evoke
women’s
bodies,
then
in delicate
sculptures
that like
seem like
1960, whose
whose tapering
women’s
bodies,
then
in delicate
wirewire
sculptures
that seem
1950s
piecesbut
butwere
weremade
made
a decade
later.
Most
of efforts
his efforts
swing
between
1950s period
period pieces
a decade
later.
Most
of his
swing
wildlywildly
between
out of out of
date and prescient,
date
prescient,genuine
genuineand
andstagey.
stagey.
His spidery
spidery ink
early
1960s
lack
thethe
innate
sense
of scale
that informs
even Ms.
His
inkdrawings
drawingsfrom
fromthe
the
early
1960s
lack
innate
sense
of scale
that informs
even Ms.
Schendel’s slightest
more
carefully
composed
works,
also also
from from
the 1960s,
in
Schendel’s
slightestworks.
works.Better
Betterareare
more
carefully
composed
works,
the 1960s,
in
which jubilant profusions of line suggest incoherent musical scores, flamboyant alphabets,
which jubilant profusions of line suggest incoherent musical scores, flamboyant alphabets,
manically pretentious script. A kind of studied Art Nouveau automatism prevails.
manically pretentious script. A kind of studied Art Nouveau automatism prevails.
Sometimes the looping calligraphies heave like layers of sediment. Occasionally they are legible.
Sometimes the looping calligraphies heave like layers of sediment. Occasionally they are legible.
Three works from 1963 titled “Letter to a General” signal the growing political consciousness that
Three works from 1963 titled “Letter to a General” signal the growing political consciousness that
would inspire some of Mr. Ferrari’s work for more than a decade. In 1976, as Argentina’s military
would inspire some of Mr. Ferrari’s work for more than a decade. In 1976, as Argentina’s military
dictatorship tightened its grip, Mr. Ferrari and his family relocated to Brazil for 15 years; one son,
dictatorship
tightened
grip,
Mr. Ferrari and his family relocated to Brazil for 15 years; one son,
Ariel, stayed behind
andits
soon
“disappeared.”
Ariel, stayed behind and soon “disappeared.”
One of Mr. Ferrari’s most interesting political works is unfortunately represented in this
One
of Mr.
mostalthough
interesting
political
works
unfortunately
in this
exhibition
onlyFerrari’s
by a collage,
it appears
twice
in theiscatalog.
It is the represented
1965 “Western
Christian Civilization,”
a found-object
assemblage
protest
against
the It
escalating
Vietnam
exhibition
only by a collage,
although
it appearsand
twice
in the
catalog.
is the 1965
“Western
War. It consists
of a nearly
figure of
Jesus mounted,
on a crucifix,
the escalating
underside ofVietnam
a
Christian
Civilization,”
a life-size
found-object
assemblage
and as
protest
againstonthe
large,Itinverted
of anlife-size
American
bomber.
Included
in the
2007
Veniceon
Biennale,
it is of a
War.
consists model
of a nearly
figure
of Jesus
mounted,
as on
a crucifix,
the underside
polemical
to say the
least,ofbut
remarkably
ahead ofIncluded
its time. in the 2007 Venice Biennale, it is
large,
inverted
model
analso
American
bomber.
polemical to say the least, but also remarkably ahead of its time.
The New York Times
‘Alternative Modernism via South America’
2 April 2009
Roberta Smith
The New York Times Roberta Smith, April 02 2009
This show encourages you to suspend many of your assumptions about postwar art in the
Americas. But it also leaves other things up in the air. Concentrating on one artist or the other
might have provided a fuller, messier account of either’s achievement. Putting them together
seems to have made for a larger tidiness by maintaining a certain Minimal/Post-Minimal
orthodoxy. To shake things up really, the Modern may have to expand more than just its
geographical purview.