“Les couleurs de l’abstraction” | Musée d’Art Moderne de la Ville de Paris | 17 Octobre 2014 - 22 Février 2015
While Robert Delaunay was busy conceptualising abstraction as a universal language, Sonia was testing it out in painting, posters, garments, bookbinding and household items, and collaborating with poet Blaise Cendrars on the artist’s book Prose of the Trans-Siberian and of Little Jehanne of France. Her Spanish and Portuguese years during the First World War saw her first ventures into theatre and, before her return to Paris in the 1920s, commercial fashion design in Madrid. The following decade brought a pared-down abstraction in the international style that harmonised with the architecture of the time, as in the big mural decorations for the Air Transport Pavilion at the International Exhibition of Art and Technology in Modern Life, on view now at MAM Paris for the first time since 1937. Her role as a “go-between” for the pioneers of abstraction and the postwar generation is pointed up through her contributions to the Salons des Réalités Nouvelles, her involvement in various architecture projects and her exhibitions at the Denise René gallery in Paris: after the war her painting underwent a profound renewal, culminating in the late 1960s in an intensely poetic form of abstraction. Her formal and technical gifts found expression in monumental paintings, mosaics, carpets and tapestries, and her late work was marked by the albums of etchings she produced for Editions Artcurial.
For this, the first major Sonia Delaunay retrospective in Paris since 1967, the Musée d’Art Moderne de la Ville de Paris is bringing together over 400 works: paintings, wall decorations, gouaches, prints, fashion items and textiles. Tracing the artist’s evolution since the beginning of the 20th century to the late 1970s, this monographic exhibition highlights her work in the applied arts, her distinctive place in Europe’s avant-garde movements and her major role as a pioneering abstractionist.
#Manhatta by #WaltWhitman read by #PattiSmith stirs up the soul. One week left to #GoSee #Rockaway1 at #FortTilden | conceived by @momaps1 + @klausbiesenbach (at Fort Tilden Breezy Point)
Studio Swine created ‘Can City’- a project based in São Paulo where a mobile foundry operates around the city’s streets. The foundry smelts aluminum cans using waste vegetable oil collected from local cafes as fuel. The moulds and the finished pieces are all made on location, turning the street into an improvised manufacturing line.
In a city with some 20 million residence the waste is on a massive scale, however over 80% of the recycling is collected by an informal system of independent waste collectors known as Catadores who pull their handmade carts around the streets. ‘Can City’ creates a system where their livelihoods can extend beyond rubbish collection.
The Catadores mine the streets for materials for the furnace, cheap and adaptable sand moulds are made using readily available construction sand from local building sites.
Where the majority of carbon cost is in the transportation of goods rather than their production – ‘Can City’ explores the possibility of industry returning to our cities, using free metal and free fuel to produce an endless range of individually crafted aluminum items adaptable to customisations and able to ‘cast on demand’.
The stools are the first line items to be produced, inspired by vernacular design the seating is made for the food market that provided the waste materials.
'Can City' was made for Coletivo Amor de Madre Gallery, São Paulo.
The project was made possible with the generous support of Heineken.