Bruno Munari was mentioned in yesterday's feature about Lora Lamm. Let's continue the Munari thread for another day with this picture of his 1946-47 installation entitled "Concavo-Convesso" that we analysed a while back in a previous post.
The installation, a sort of cloud or shell-like structure referencing geometry and mathematical variables, is currently on display inside the Brazilian Pavilion at the 55th International Venice Art Biennale.
The pavilion hosts an exhibition entitled "Inside/Outside" featuring artists Hélio Fervenza and Odires Mlászho, plus other works of significance by established artists from the past.
Bruno Munari's "Concavo/Convesso "(Concave/Convex, 1947), Max Bill's "Tripartite Unity" (1948-49; the enigmatic and fascinating metal sculpture by the Swiss architect and designer won the first prize at the first Bienal de São Paulo in 1951) and Lygia Clark's "Obra Mole" (Soft Work, 1964; Clark, as some of you may remember, studied with Léger in Paris, participated in the Constructivist movement in Rio de Janeiro and became known for her sculptures with movable parts) are indeed also showcased to try and trace a history of the Möbius Strip.
Invented by August Möbius in the mid-1800s, the famous band consists in twisting a strip of paper 180 degrees and then taping the ends together.
The main theme of the pavilion - "Inside/Outside" - is a direct reference to the Möbius band, a one-sided surface with no insde and outside, but also hints at the collision between Brazil's own culture clashing and combining with other cultures (an interesting topic, considering the recent events in Brazil and the imminent papal visit as well).
Fervenza (images 4 and 5 in this post) employed hybrid techniques in his works "Pontuações para dentrofora (acercamentos)" (Punctuations for Insideout (Approaches), 2011) - a series of Möbius strips manufactured in different materials, such as satin, newspaper, money, magazines, photographic film, and so on - and "(peixe, sombra) dentrofora (do céu da boca) d'água" ((fish, shadow) insideout (the roof of the mouth) of water, 2013).
In his series of images “bauhausmachine" (2007, third image in this post) and "Skinner" (2009) Mlászho played instead with collages and the potentialities of new digital media. His works with altered encyclopedias transformed into sculptures based on the Möbius strip are actually more convincing as they interact pretty well with the architectures surrounding them and suggest new ways (based on weights, volumes and physicality) of reinterpreting and reinventing the classic Möbius band.
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