Art@Site Franz Weissmann Quadrado em Tocao no Espaco Rio de Janeiro

Franz Weissmann


Quadrado em Tocao no Espaco

Quadrado em Torçào no Espaço means Twisted Square in Space.

Itau Cultural:
Fernando Ortega, director of the Franz Weissmann Institute, comments on the details of the sculptor's creation process, the quantity of works made and the different meanings that the artist sought with colors. Frederico Morais, historian and art critic, speaks of the sculptor's work, in which it is possible to feel the emptiness present in the work in his own body, since it is possible to walk within it. Exhibition curator Felipe Scovino makes a historiographical analysis of Weissmann's work in line with other visual artists and architects, such as Lina Bo Bardi, Henri Matisse, Oscar Niemeyer and Affonso Eduardo Reidy, Waltraud Weissmann, president of the institute and daughter of the artist, who explained in their works relations between the citizen and the cities, and cites.
Exhibition Franz Weissmann: The Void as Form exhibition presents some phases of the sculptor, painter and draftsman who was part of Grupo Fre and was a signatory to the neo-concrete manifesto. Curated by Felipe Scovino, the exhibition runs from November 27, 2019 to February 9, 2020. The design and production are by Itaú Cultural in partnership with the Franz Weissmann Institute.
Franz Weissmann (Knittelfed, Austria, 1911 '' Rio de Janeiro, Brazil, 2005) was an artist who envisioned the macro in the micro: his production ranged from small maquettes to large-scale sculptures, one of the hallmarks of his work. A key artist in the neoconcrete movement, he was interested in seeing his creations shown on sidewalks and in public squares, precisely to ensure widespread access to them.
'My idea is to make larger-scale sculptures for public squares, mainly. I am very much interested in having my sculptures in public squares, where the public passes by and participates. One day a member of the public passes by, thinking that it's no good, another day he or she passes by and thinks it's better. And little by littlands the work.' This statement is by Weissmann himself, in the documentary Franz Weismann '' The Music of Silence, directed by Moacir de Oliveira.
The spread of works by this artist through the public space sprang from his idea that the work of art should have a more intimate and direct contact with the spectator. 'He was an essential artist '' just like the concrete and neoconcrete artists active at the same time as him '' to think about the street as a place for artworks to occupy. These artworks founded a space in the city, by transforming the places where they were based into zones of feeling, and by adding other possibilities of construction into a narrative of the city and nation. That they were able to do this is owing to how they were not merely more busts or monuments honoring characters or heroes, defining an '˜official' history that was very restricted and in certain cases defeating the idea of a democratic country. They were artworks which on the one hand bore a developmentalist, urbthinking, very much identified with the 1950s, and, on the other, created effective bonds between pedestrians, artwork and city,' states Felipe Scovino, curator of this exhibition Franz Weissmann: o Vazio como Forma [Franz Weissmann: Emptiness As Form].
The aim of this site is to map the public artworks by Weissmann in Rio de Janeiro and in Sào Paulo, installed on streets and in public squares and parks.