La construcción de un propósito a partir de los conceptos de vacío y ciudad en la escultura de Jorge Oteiza y Franz Weissmann

Abstract

In order to  understanding of the different hypotheses on the concept of emptiness connected to the idea of receptivity, both in the work and thought of Jorge Oteiza and Franz Weissmann, who also thought of sculpture for the city, this analysis is constructed on the basis of specific documents by Oteiza and some Brazilian theoreticians. Ferreira Gullar, whose analysis is based extensively on Oteiza's Dynamic Sculpture (1952), which develops the concept of emptiness connected to the thesis of time as well as the particularities of the dynamic in sculpture. Sonia Salzstein constructs an analysis of Weissmann's work on the basis of the cube as a prefiguration of the city, and seeks to relativise the theories presented here with the history of art and the cultural and social history of man. It investigates these ideas from the cultural references inherent to each being, such as the Basque cromlechs or the metropolises with which the characters discussed here identify themselves. He proposes to verify the connections between the concepts developed by the Basque sculptor and those developed by the Brazilian neo-concretists. Gullar practically wrote the neo-concrete manifesto (1959) as well as proposing the Theory of the non-object, insofar as he works on the rupture of the plane. The Experimental Purpose 1956-1957, a document that accompanies the sculptures sent by Jorge Oteiza to São Paulo Biennial, is fundamental to the hypotheses indicated here. In it, Oteiza makes his work process explicit, establishing it as a purpose. On the basis of these documents, this research addresses some connections with the context of the city as a receptive space - or not - insofar as it cites certain concepts connected to receptivity and emptiness among the artists and the theorists mentioned here, as well as Lygia Clark, Hélio Oiticica and the poet Haroldo de Campos.