sao-paulo

Christian Megert, Parede espelhada e móbile (Mirrored Wall and Mobile), 1963, mirrors, wood, thread. Installation view. From “Zero.”

“ZERO”

Pinacoteca do Estado / Estação Pinacoteca

Christian Megert, Parede espelhada e móbile (Mirrored Wall and Mobile), 1963, mirrors, wood, thread. Installation view. From “Zero.”

Arriving in São Paulo after stops in two other regional centers in Brazil, “ZERO” opened with a darkened gallery featuring three works by Otto Piene, in which volumetric forms housing electronic lamps cast a dance of light and shadow on the surrounding walls, owing to their static and rotating perforated surfaces. As a curatorial statement, this selection of work (which included the artist’s well-known Light Ballet, 1961) affirmed Piene’s statement in the first issue of ZERO, the official magazine of the eponymous Düsseldorf-based group, which he founded with Heinz Mack in 1958. He explains that art should arrive at “color as true color, as light, as energy.” The words evince how explicitly these artists framed their enterprise against the dominant trend of art informel. In place of subjective expressionism and painterly materiality, the Zero artists harnessed movement and light,

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