LYGIA CLARK RETROSPEKTIVE

A fundamentally new and important concept coined by Lygia Clark is the "organic line" that is discussed in this episode by the scholars Elize Mazadiego and Irene V. Small. Clark deployed this line to break the frame and is a line or several lines of space that lie in between. From a conceptual point of view, Small argues, these lines could be considered as important as the void in Kazimir Malevich’s Black Square or John Cage’s 4’33’’ but never got this attention due to the dominant mechanisms of canonization. Elize Mazadiego and Irene V. Small belong to the youngest generation...

Max Bill übte einen erheblichen Einfluss auf die Brasilianischen Künstler:innen der 1950er aus, die seine Kunst spätestens seit der 1. São Paulo Biennale 1951 sehen konnten. Belegt ist auch, dass die Brasilianerin Lygia Clark, eine Hauptvertreterin der 1959 initiierten Neo Concretismo-Bewegung, sich mit einigen ihrer Werke direkt auf Bill bezog. Annina Schindler hat über dieses Thema am kunsthistorischen Institut der Universität Zürich geforscht und diskutiert über diesen künstlerischen Austausch zwischen den beiden Kontinenten vor über 70 Jahren. Auch eine Ausstellung von Evelyne Bucher kuratierte Ausstellung gibt Auskunft zum Thema:

Yve-Alain Bois, starting at a very young age, published French articles on Lygia Clark such as “Lygia, l’art hors des enceintes” (art outside the system), f.e. in March 1969 for the newspaper Réforme. Bois asked there “saura-t’elle mettre l’art dans la rue?”, that is: will she be able to bring art to the streets?” Clark lived in Paris at the time where she stayed until 1976, a period full of disruptive but important social reforms. In this episode, Bois tells us about his personal encounter with the visionary artist, how she was involved in writing for the cultural magazine Robho...

Lygia Clark’s granddaughter Alessandra Clark and the curator Cathérine Hug discuss how it is to keep alive the legacy of an artist that worked as a neoconcrete sculpturer and painter first, and separated fully from the conventional artwork and museum space later on. Alessandra takes care of the production of the participatory and sensory replicas that are shown in exhibitions and is, along with Eduardo Clark and the l’Associação Cultural O Mundo de Lygia Clark, one of the key figures in keeping Lygia’s legacy alive.