madrid

Mathias Goeritz, Torres de Ciudad Satélite (Towers of Satellite City), 1957, wood, paint, dimensions variable.

Mathias Goeritz

Museo Nacional Centro de Arte Reina Sofía

Mathias Goeritz, Torres de Ciudad Satélite (Towers of Satellite City), 1957, wood, paint, dimensions variable.

El retorno de la serpiente. Mathias Goeritz y la invención de la arquitectura emocional” (The Return of the Snake: Mathias Goeritz and the Invention of Emotional Architecture) presented some two hundred works and documents by the German-born artist, who worked in Mexico from 1949 until his death in 1990, alongside those of many of his peers. As the title suggests, the show, curated by Francisco Reyes Palma, took Goeritz’s conception of “emotional architecture” as its theme, and so it fittingly opened with his sculpture Ataque o la serpiente del Eco (Attack or the Serpent at Eco), 1953/2014. The title evokes a figure common in the art of ancient Mexico, but in its more than twenty-five-foot-long form, the work’s twists and various peaks and falls abandon reptilian sinuousness in favor of hard-edge geometry and a scale that offers a bodily encounter for the viewer. Documentary

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