Geometry is often thought of as an eminently sober, rational system of thought. But mathematicians are not alone in finding sensual delight in abstract numbers and shapes; a number of poets, thinkers and concrete artists have felt the same way. I am thinking in particular of certain creative currents – or, more precisely, forms of behaviour – which emerged in the mature 20th century, most prominently in Switzerland, Germany, Hungary, and, perhaps surprisingly, Brazil. The heirs of this movement, known as concrete art, confront the insights of mathematical or computer aesthetics in a truly unorthodox manner. They can handle geometry more freely, and conquer new domains of art, such as photogra- phy, while referring to the pioneers of concrete art and thought in the early twentieth century as their forebears. Among these, it is worth highlighting László Moholy-Nagy, who had a good relationship with Theo van Doesburg, one of the creators of the concept of “concrete art”. Sára Sebestyén follows the traditions of Hungarian constructivism, making clear through the medium of photography how
“concrete” concrete art really is. After all, one of the merits of photography is that it can engage with the visible world more directly than can other artistic disciplines.
Published by: Pauker Holding