NEW YORK, NY.- Galerie Gmurzynska
New York is presenting Rouge et Noir an exhibition of works by Otto Piene (Bad Laasphe 1928Berlin 2014), founder of Group Zero, lifelong pioneer of modern art, and key avant-garde figure of the second half of the twentieth century, opening May 8, 2022.
Zero signified a new beginning in Otto Pienes book. In the ruins of Germany after the Second World War, the movement he founded with Heinz Mack at the end of the 1950s was based on the idea that reconstruction might be achieved in an artistic way if it started with the mind. 1 This initiative by young German artists sparked a vast international movement known under the same heading ZERO, which included such diverse and pioneering characters as Fontana, Klein, Kusama, Manzoni, Alviani, Arman, Tinguely, Spoerri, Soto ... They all shared a common will to make a clean sweep of the past in both artistic and political terms and to invent new forms of creation on the rubble of the old world. Throughout his career, Otto Piene, leading member of the movement, tirelessly explored diverse innovative forms of visual creation (painting with fire, sculpture on stainless steel, painted ceramic, kinetic installations, film, performance, Sky art ...). In this constant reinvention of art, Otto Piene never ceased to challenge the meaning of the artistic act.
A mirror of Pienes experimental creativity, the exhibition presents a selection of his painted ceramics, fire paintings, gouaches on paper and a light installation. The selection of works focuses on the fundamental combination of the colors red and black in Pienes oeuvre. The artist used the title Rouge et Noir in several of his works and with multiple media, including painted ceramic, canvasses composed with oil and fire, and light installations, such as the one he showed in 2011 at the Grand Palais in Paris. Rouge et Noir was also the title of his ceramics exhibition at the Leopold Hoesch Museum in Duren in 2010. Echoing Stendhals novel, red and black symbolize the passion and quest for the absolute in Pienes oeuvre. Red and black are also the colors of the fusion of matter, which you see standing in front of the kiln during the firing of ceramic. Like Miro, Piene turned to ceramic in the same post-war period to engage with the nature of material itself, with its elements, and to revisit an archaic practice, remembering the prehistoric artist who fashioned the raw material into a unique form and let it speak to us. Red Bulls (2011), an impressive blood red ceramic, shows four bulls which look as if they belong in a prehistoric cave painting. The artwork was displayed in the Piene exhibition entitled Energy Fields at the ZKM museum, Karlsruhe, in 2013. The source of art, this vital energy is explored by the powerful ceramic work and by the entire exhibition. As Piene explained,
In my ceramics the four elements come together: the flow of water, combined with the clay, later evaporated in the fire of the kiln and dried by the air. Revisiting the origins of art history to better rewrite it aptly describes the Zero mindset inspired by Piene. Looking at how many young artists today are engaging with ceramic, in the West and in Asia, you realize how visionary Piene was in returning to ceramic.
The exhibition shows the most recent series of Otto Piene as well as works from the early part of the artists career to offer a modest retrospective of his oeuvre. The painting Die Geburt des Regenbogens (The birth of the rainbow, 1966), oil on canvas with fire and smoke, bears witness to the artists constant use of fire and his dialog with the work of Yves Klein, his friend and colleague. Fire became an art form for both Piene and Klein, who as children of war showed that the fire of canons can perhaps also become the tool of painters, that creation might be a counterpoise to destruction. The fire of heaven becomes Feuerorgel (Fire Organ, 1972), a painting of fire on cardboard in which Piene appears intent on depicting the heart of creation. This light from the sky, both sublime and worrying, also forms the basis for Pienes installations such as Lichtraster o.T (Light grid, untitled) (20122014) presented here. Light is a graphic element that lends the composition form and meaning. Light was the uniting, overarching element in the art that my friends and I made,2 explained the artist.
The exhibition is accompanied by an original essay from the pen of Jerome Neutres, former director of the Réunion des musées nationaux-Grand Palais and former president of the Musée du Luxembourg. The essay Le degré zéro de lart (Degree Zero of Art) puts into perspective the foundations of Pienes oeuvre within the context of modern art history, from after the Second World War up to the present day. Piene figures as one of the key protagonists in the essay, which explores the currents and caesura in art over the past sixty years.
1 Otto Piene, From Zero to Sky Art, interview by Annick Bureaud, Art Press, No. 322, 2006