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Abstract : Reality [Language] B - Marcel Moonen (Pt. 5)


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In this 5th excerpt Abstract:Reality [Language] I discuss the working of language through creativity.

This presentation consists of self-made images, collage, written texts and other works

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Abstract : Reality [Language] B - Marcel Moonen (Pt. 5)

  1. 1. Abstract : Reality [Language] B Marcel Moonen (2018)
  2. 2. Foreword Creativity is mostly understood as means of production (hence the definition: ‘creative industries’), and leaves out the part of research ~ reflection completely. Anyways, before arriving here I put myself a goal: no form, no aesthetics, no object. Forget about style, forget about making a beautiful product, forget about public. Become a boundless explorer again. I realized that at the end of each creative process, behind all these shapes and objects, we discover true identity; stories. Out of these stories I create my own story nested in our time: TIME ~ Art
  3. 3. Abstract : Reality [Language] consists of 5+1 chapters: 1. Generic patterns 2. Meudon 3. Paradox temple 4. Thinking structure 5. Distortion and Replay 0. Dreams This publication is the outcome of various presentations I did in the Van Doesburg house, and is formed through interaction with the guests I hosted and numerous random encounters with other people. The way this document is structured may appear nonsensical, but I realized the best way to give an insightfull view in creative exploration is in the form of a giant scrapbook. I have split the publication in: [B] Argument (chapter 1-4) {Series of framed experiments} [A] Manifesto (chapter 5+0) {TIME ~ Art} If you don’t want to watch the full story I recommend reading Replay. If you just want to read about architecture you can skip to Question. My approach to research is experimental in essence; using a vocabulary of creation and distortion as a replacement for scientific instrumentation. This publication can be downloaded from my website in PDF format or can be found in the bookshelf of the Van Doesburg house; Rue Charles Infroit 29, Meudon (Paris). Marcel Moonen (2018) -
  4. 4. The work I did during my residence at the Van Doesburg house (2018) started as a research into the mechanics of abstraction. It transformed into an investigation into the mechanics of Theo van Doesburg, and ended as Abstract : Reality [language]. I believe that after almost a century we still didn't grasp the true intentions of Theo van Doesburg; a mystical figure by nature. He was eager to understand and define the rules of abstraction, and was only truly rivalled by his Uruguayan counterpart Joaquín Torres García. Their sole pursuit: create an universal language of abstraction. To understand something you must get into something, but to truly understand a person you must become that person. Instead I chose to become a fox, to understand Theo van Doesburg, theoretically ~ figuratively.
  5. 5. Abstract : Reality 1. Generic patterns
  6. 6. van Doesburg : I.K. Bonset {Dualistic Tendencies}
  7. 7. I.K. Bonset - La matière denaturalisée, Destruction 2, 1923 Theo van Doesburg - Composition XXII, 1922 {Dualistic Tendencies}
  8. 8. Theo van Doesburg [Abstract : De stijl] Disassemble Examine Analyze Discover the concepts of Reality
  9. 9. {Reality : Dada} Discover the concepts of Reality Analyze Examine Disassemble I.K. Bonset
  10. 10. “"In place of dreams the future will substitute art based on science and the technical." Theo van Doesburg, towards white painting, Art Concret, 1929 SENSIBILITY, SENSUALITY, EMOTION
  11. 11. Theo van Doesburg, The Cow (4 stages of abstraction), 1917 Question : Are these 4 variation of the same game?
  12. 12. Let’s play! [A reverse game of Cow] ?  ? ?
  13. 13. Girl in 3 frames (1 of 3) - Marcel Moonen, 2018 {deconstructed image} Girl with Ranunculus - van Doesburg, 1914 {constructed image}
  14. 14. Girl in 3 frames (2 of 3) - Marcel Moonen, 2018 {deconstructed image} Girl with Ranunculus - van Doesburg, 1914 {constructed image}
  15. 15. Girl in 3 frames (3 of 3) - Marcel Moonen, 2018 {deconstructed image} Girl with Ranunculus - van Doesburg, 1914 {constructed image}
  16. 16. Following works started out with a series of frames generated out of an A.I. image generator. These random images composed out of triangles, circles and rectangles in a variety of colours are processed and pixelated in a primitive video-editing program. Out of a series of hundreds of frames I selected the most pleasant ones and distorted those with a photo-editing program, to get back to a level between abstraction and reality.
  17. 17. Two cards on the table - Marcel Moonen, 2018Cardplayers - Theo van Doesburg, 1916
  18. 18. Man with four faces (1 of 4) – Marcel Moonen, 2018Composition (Abstract Portrait) - Theo van Doesburg, 1929
  19. 19. Man with four faces (2 of 4) – Marcel Moonen, 2018Composition (Abstract Portrait) - Theo van Doesburg, 1929
  20. 20. Man with four faces (3 of 4) – Marcel Moonen, 2018Composition (Abstract Portrait) - Theo van Doesburg, 1929
  21. 21. Man with four faces (4 of 4) – Marcel Moonen, 2018Composition (Abstract Portrait) - Theo van Doesburg, 1929
  22. 22. Composition I (IX) - Marcel Moonen, 2018Composition IX - Theo van Doesburg, 1917
  23. 23. Composition II (Man with no face), 2018
  24. 24. Composition III, 2018
  25. 25. Composition IV, 2018
  26. 26. Composition V (Starry Night), 2018
  27. 27. Composition VI (Performer), 2018
  28. 28. Composition VII (Child), 2018
  29. 29. Composition VIII, 2018
  30. 30. Composition IX, 2018
  31. 31. Composition X (00:00), 2018
  32. 32. Composition XI (a kind of blue), 2018
  33. 33. Composition XII (purple cross), 2018
  34. 34. Composition XIII, 2018
  35. 35. The man and his mirror image {unravel the veil of reality}, 2018
  36. 36. You only see something if somebody shaped it for you. [the code] And if you just look, you see nothing, you only see a continuation of things. At a certain moment you start to play with this aspect of continuation, of nothing.
  37. 37. Composition A 0 {self}, 2018
  38. 38. Composition A I {skies}, 2018
  39. 39. Composition A II, 2018
  40. 40. Composition A III, 2018
  41. 41. Composition A IV, 2018
  42. 42. Composition A V, 2018
  43. 43. Composition A VI, 2018
  44. 44. Composition B I {winter}, 2018
  45. 45. The inevitable and continues progress of [the code] ~ AI leads us to re-think the position of art; and creativity as a whole. I see three available positions. 1. Denial 2. Competition 3. Merging If we base our position on pure logic we ought to admit there is only [A] position. If we base our position on the illogical {unreasonable} we might find a way.
  46. 46. Composition C I {Future state}, 2018
  47. 47. Composition C II {Beyond good and evil}, 2018
  48. 48. Composition C III {Organic pattern}, 2018
  49. 49. Abstract : Reality 2. Meudon
  50. 50. Following images are pictures of the surroundings of the Van Doesburg house in Meudon {a settlement lying on the border of Paris}. These pictures are edited, cleaned and slightly rearranged until the result is somewhere in between abstraction and reality.
  51. 51. Abstract :Reality 3. Paradox Temple
  52. 52. The following things are a result of a workshop with architect Michal Czerwinski (PL). A workshop in finding borders - beween the appearingly random process in which the surroundings of the Van Doesburg house changes {in time} and the seamingly abstract appearance of the house itself.
  53. 53. Contra - composition VDHContra - composition Versailles Parallelism
  54. 54. Contra - composition, garden - VDH Composition of the generic, model VDH Polarity?
  55. 55. Non-contra composition, computermodel of partly house and partly garden
  56. 56. " Nothing is more concrete than a line, a colour, a surface." Theo van Doesburg Art Concret {Manifesto} First and only issue 1930 {van Doesburg house}
  57. 57. " Nothing is concrete. A line, a colour, a surface, words and even scientific theory are intangible devices morphing through space, time and memory." Marcel Moonen {Distortion} Concrete No Issues 2018 {Paradox Temple}
  58. 58. A temple in which the practise of art is placed as the highest order. A temple in which daily activities become rituals. A temple as a silent retreat from everyday reality. A temple as an escape into the ideal. {zero point} A temple that is essentially built out of straw. {primitive} Van Doesburg House = Paradox Temple Revealing both the primitive {distortion : reality} & ideal side {zero point : abstract}
  59. 59. La matière naturalisée I VDH
  60. 60. La matière naturalisée II VDH
  61. 61. La matière naturalisée III VDH
  62. 62. La matière naturalisée VI VDH La matière naturalisée VII VDH
  63. 63. La matière naturalisée VIII VDH La matière naturalisée IX VDH
  64. 64. La matière VDH
  65. 65. Abstract : Reality 4. Thinking structure
  66. 66. Following schemes explain the working process of Theo van Doesburg. Instead of following a linear trajectory, he established a spatial approach of creative exploration through the use of archetypes. An approach that is less confined and leaves more room to experimentation.
  67. 67. Linear pathway; Jungian archetypes
  68. 68. INDIVIDUAL
  69. 69. Freedom space; Non-mechanics of Dada
  70. 70. Space-platform-creation; Mechanics of De Stijl
  71. 71. Pyramidical construct; Idea-Manifesto, Art Concret and a search for the universal spirit
  72. 72. Cercle et Carré (1929) – Manifesto; Michel Seuphor & Joaquin Torres Garcia Note: the surface of a circle can never equal the surface of a square.
  73. 73. The manifesto Art Concret (1930) was as a pyramidical construct. A manifesto as Idea which describes the universal spirit as a singular truth, reaching for a state of 100% purity.
  74. 74. The manifesto Art Concret (1930) was a prophetic manifesto, a tool for conversion, not for dialogue.
  75. 75. Abstraction - Création; 1931 Memberlist
  76. 76. The manifesto Abstraction – Création (1931) was a list of people working on the ideas of abstraction; fusing Art Concret + Cercle et Carré and initiated by Georges Vantongerloo. Georges Vantongerloo (initiator) Auguste Herbin (chairman) Theo van Doesburg (vice-president) Jean Hélion (treasurer) Hans Arp Léon Arthur Tutundjian Albert Gleizes František Kupka Georges Valmier (committee member) Antoine Pevsner Naum Gabo Wassily Kandinsky Piet Mondriaan Albert Gleizes Auguste Herbin Robert Delaunay Alexandra Povòrina Antoine Pevsner Willi Baumeister El Lissitzky Carl Buchheister Marlow Moss Alexander Calder Friedrich Vordemberge-Gildewart Lucio Fontana Max Bill Arshile Gorky + 400 more members
  77. 77. Question: Is the Vandoesburghouse still part of De Stijl? Or is it the beginning of a new era; the first and only architectural manifestion of Art Concret? Answer: To answer this question we have to do a small exercise.
  78. 78. Exercise Dilemmas between projections [products of a theoretical education*] and reality. Do we consider the Van Doesburghuis as a sum of coloured 2D-planes or a spatial play between volumes? * Generalisations and abstractions are worthless unless they are tested by this concrete world. - Will Durant, the philosophy of Plato. Theo van Doesburg, design of the facade Maison van Doesburg, 1929 (colour)pencil on paper. This sketch is different from the state in which it was executed.
  79. 79. {projection} According the sketch in 1929. What are planes? What are volumes? Lack of clarity, a confusion in the interpretation of planes and volumes. {reality} Since executed state in 1930. A clear vison on volumes and planes. The use of colours is controlled and silent. A colour is translated as an abstract “Idea” of an entrance. Sample #1 About colour
  80. 80. [A letter to his friend Antony Kok describing a painting in black, white and gray in January 1930, during the construction of the Vandoesburghuis, in the same letter he describes the argument he had with Joaquín Torres García] “ It has a controllable structure, a fixed surface without chance or individual inconstancy, unimaginative? Yes. Emotionless? Yes. But not without spirit, not universal-less.” (translation in English) Het heeft “een controleerbare structuur, een vaste oppervlakte zonder toeval of individuele grilligheid, fantasieloos? Ja. Gevoelloos? Ja. Maar niet geestloos, niet universeel-loos.” (Dutch) Sample #2 About words
  81. 81. Sample #3 About Platonic shapes Our eyes are made to see forms in light; light and shade reveal these forms; cubes, cones, spheres, cylinders or pyramids are the great primary forms which light reveals to advantage; the image of these is distinct and tangible within us without ambiguity. It is for this reason that these are beautiful forms, the most beautiful forms. Everybody is agreed to that, the child, the savage and the metaphysician. – Le Corbusier Melnikov house 1927-1929 {2 cilinders} Van Doesburg house 1929-1930 {2 modulated cubes}
  82. 82. Sample #4 Ode to the cube The primary elements of architecture language are not primary colours {confusion in architectonic language of De Stijl}, but primary volumes: {new clear understanding of architectonic language, establishing Art Concret}
  83. 83. Platonic shapes are used as an abstract Idea The Van Doesburg house = Art Concret, made manifest in architectural language. Constantly reminding us of our recollection of the perfect form of the cube and the square. Colours are used as an abstract Idea Its external white appears clear and vivid in the daily play of sunlight. Colours are reduced and securely placed, not to achieve a sensual effect {architectural endeavours of De Stijl}, but ideally used abstract; markings openings, signalling routes. Internally colours are used to indicate key domestic rituals; closing curtains (colour), indicating a place for clothes (colour) a table to study on (colour), a table to eat on (colour). Less intense tints are used as a painted surface in the flooring of the domestic rooms. Reddish {earthly} colours come back in the bathroom & kitchen flooring. The atelier is a colourless space for practising art {spiritual contemplation} and left in solemn white and grey, leading our eyes {between the blue curtains} towards the pure colours of nature behind its window surface. Memory is used as an abstract Idea The scale, dimension and openings of the atelier recalls a collective collection of memories from church. A balcony (hovering platform in upper corner), its timeless altar (concrete table as a centre piece) and the linear window divisions (as leaded windows, but interpreted abstract, only a linear composition remains; the colours are not anymore in stained glass, but they are projections of the the nature behind). A slightly rotated checkerboard in the corner of the library; reminding us that van Doesburg played a game in finding the true spirit of abstraction; not to be found in books, nor in the cosy feeling of sitting around fire. So was de Stijl nothing more than a mere shadow in Plato’s allegory of the cave? No, it was the guide leading towards the exit. Vandoesburgs Pyramid [Ideal Idea of Abstraction] took shape in two modulated shifting cubes facing a perfect third cube; the pedestal becomes sculpture, an ode to the highest order, the cube itself. Answer: De Stijl >>> Art Concret
  84. 84. Continue [A] Manifesto (chapter 5 + 0)