Abraham Palatnik
(BRAZILIAN，B.1928)
Untitled
Executed in 2002 progressive relief on duplex paperboard and wood 65×55×5 cm
Provenance:
Nara Roesler Gallery

Abraham Palatnik was born in Natal，Rio Grande do Norte，Brazil in 1928. A pioneer of kinetic art in Brazil，his investigations into technology，mobility，and light led to a groundbreaking understanding of visual phenomena. Throughout his practice in over sixty years，Palatnik’s work questions time，movement and the relationship of man to nature. For Palatnik，the artist’s role is to discipline the perception of chaos. Adding logical order to a continually fluctuating universe translated as controlling systems and tempering nature is central to the artist’s practice.
Abraham Palatnik’s Progressive Relief series began in the 1970s when an important change took place in his work. It involved not only a reduction of format，but an entire transformation of its guiding concepts– now there was an overriding concern with symmetry and a nearly compulsory invitation to the detail of texture. In the following decades，Palatnik used three new materials: in the 1970s，he used polyester resin； in the 1980s，strings on canvas； in the 1990s，a plaster and glue compound. Most impressive to this 2002 rendition of the series is the refinement of his design and perfection of execution. By using only white color，Palatnik reinforced the linear structure that tensions the optical-kinetic rhythms，a constant in all of his work. However，differently from the progressions built with pieces of Brazilian rosewood— which tend to expand horizontally as if they were an abstract Muybridge—the impulse in the string progressions is vertical，as if he wanted to express simultaneously the chromatic sonority of Scriabin’s luminous keyboard and the ascending drive of the columns that grow just like forests inside gothic cathedrals.
In this work from 2002，Palatnik explores themes of movement and dynamism in a controlled space. Referring to dynamic movements and wavelengths in the drawing，the artist encapsulates a central theme of his artistic practice: focusing on the hallucinatory and enigmatic quality of the image as opposed to a purely aesthetic encounter. Entering zones beyond the visual，Palatnik’s works refer to the genesis of art，to its making and creation. His work is included in the collections of MoMA，New York； Museu de Arte Moderna de São Paulo； and Museu de Arte Moderna do Rio de Janeiro among others.

来源：
Nara Roesler 画廊

阿伯汗·普兰尼克于1928年出生在巴西北里奥格兰德州的纳塔尔（Natal，Rio Grande do Norte，Brazil），是巴西动力艺术运动的先锋人物。他在技术、动能和光源方面的研究引发了艺术界对视觉感观理解的巨大突破。纵观他60年来的作品，普兰尼克不断向时间、运动和人与自然的关系发问。对于普兰尼克来说，艺术家的角色就是训练对混乱的感知能力。而对于艺术家来说最重要的是对宇宙的理解，即将瞬息万变却又存在逻辑秩序的宇宙体现在有逻辑的体系以及变换的自然中。
普兰尼克的“渐进的浮雕”系列于1970年代，以他作品中一个重要的改变为契机开始。这个系列不仅只是一个形式上的削减，更导致了艺术家整体理念上的转变—表达了艺术家对对称性的关注和对其细节质感的一种几乎强制性的对观众的邀请。在接下来的几十年中，普兰尼克运用了三种新的材料：在1970年代，他采用了聚酯树脂；在1980年代，是布面绳；在1990年代，是石膏与胶水的结合。在这个2002年版本中最令人印象深刻的是其精炼的设计和完美的手法。普兰尼克仅仅使用白颜料，就强化了作品的线性结构，从而使得视觉动态的韵律更加紧凑，使得系列作品产生了延续性。然而，和用巴西黄檀木所制作的作品不同的是，黄檀木展示的是如同英国摄影师迈布里奇式的水平延展动态，而线所展示的动态是垂直的，像是试图同步展现史克里亚宾华丽键盘上的半音阶音符或是哥特式教堂里倾斜的像森林似的圆柱一样。
在这幅2002年的作品中，普兰尼克在有限的空间里探索了韵律和多样性。根据绘画作品极强的表现力和感染力，该艺术家简述了其艺术创作的中心理念：专注于对虚幻而神秘的画质的追求而不是局限于对美学单纯的追求。突破了视觉的局限，普兰尼克的作品展现出了艺术的灵魂及创造力的来源。他的作品被收藏于纽约现代艺术馆、圣保罗现代艺术博物馆、里约热内卢现代艺术博物馆等世界重要美术馆内。