America was, for Europeans, the promised land, Columbus believed possibly feet and other face value, then try to locate the Garden of Eden somewhere in the vast immensity newfound ...
The new world was not fruitful in new utopian proposals (after the Jesuit missions in Argentina, Colonia Cecilia and the two phalansteries fouriristas of San Francisco (Sai \u200b\u200band Palmital ), in Brazil, and other experiments sons of utopian socialism in Paraguay and Peru), concordantly, the Latin American vanguards of twenty and thirty-surrealist included-also showed no attraction to utopian component.
But there will be in the field of visual arts which arise utopian visions and worlds apart really original and the European look. Xul Solar, in Argentina, since the end of the decade of ten until his death in 1963, developed and perfected a utopian concept that should be read both in his paintings and in his writings ... in their Cubist works can be viewed strokes, vibration futuristic Dada joints and even coloratura kleenescas with greater intensity than remnants surreal.
The theoretical development of the issue of body imperfections and create you need parts, natural or artificially-Xul borne by two fundamental writings, but both texts are predicted and succeeded by a rich iconography that illustrates that the artist displayed.
Xul In 1915 he painted a series of works that have as their central theme the angels, possibly in a stage of its course mystical. All have in common: little angelic or dark faces, halos that become transparent helmet, extra legs. Anjos is the more striking because the figures have demonic faces and more resolutely maintain a kind of small fins on the abdomen of her peers, producing the effect of two pairs of legs, some land and other amphibians. The hands of the elderly have become lamps that emit a call illuminating the road. In Manifesto of 1927, the human figures to serve as masts living the teachings of several nations, including those of Argentina and Brazil, and mestizos Two aircraft and people, from 1935, give wings to the body imperfect and misfit human.
The new world was not fruitful in new utopian proposals (after the Jesuit missions in Argentina, Colonia Cecilia and the two phalansteries fouriristas of San Francisco (Sai \u200b\u200band Palmital ), in Brazil, and other experiments sons of utopian socialism in Paraguay and Peru), concordantly, the Latin American vanguards of twenty and thirty-surrealist included-also showed no attraction to utopian component.
But there will be in the field of visual arts which arise utopian visions and worlds apart really original and the European look. Xul Solar, in Argentina, since the end of the decade of ten until his death in 1963, developed and perfected a utopian concept that should be read both in his paintings and in his writings ... in their Cubist works can be viewed strokes, vibration futuristic Dada joints and even coloratura kleenescas with greater intensity than remnants surreal.
The theoretical development of the issue of body imperfections and create you need parts, natural or artificially-Xul borne by two fundamental writings, but both texts are predicted and succeeded by a rich iconography that illustrates that the artist displayed.
Xul In 1915 he painted a series of works that have as their central theme the angels, possibly in a stage of its course mystical. All have in common: little angelic or dark faces, halos that become transparent helmet, extra legs. Anjos is the more striking because the figures have demonic faces and more resolutely maintain a kind of small fins on the abdomen of her peers, producing the effect of two pairs of legs, some land and other amphibians. The hands of the elderly have become lamps that emit a call illuminating the road. In Manifesto of 1927, the human figures to serve as masts living the teachings of several nations, including those of Argentina and Brazil, and mestizos Two aircraft and people, from 1935, give wings to the body imperfect and misfit human.
Dos Anjos - 1915 + Airplane Mestizos and People - 1936
Xul had faith in the natural development of the species because, in the first of the letters mentioned above, outline of a proposed change being human, foretells that, following a storyline like ours, the brain will grow as appendices will be needed to hold the upper body, the mouth will have a long tongue and vocal cords to double talk and sing, and the heterosexual sex combine to play (because selfing in their degenerating results, it is contraindicated) bisexual and monoecious, which could be useful to broaden the experience and mental maturity.
However, Xul seems to be satisfied leaving it exclusive nature perfecting his own work, in the second letter, A semi-technical lgo anatomical and authorities on best new suggests possible additions and amendments as a matter of implants and surgery, with a stiff tail to stand more comfortable or big breasts nurse to work. Ie, with a parodic dye bias that make it even more modern than their colleagues, not only cares about what is necessary but what convenient.
to the idea that the evolution-natural or artificial, must not only meet the minimum required to meet the work seems diaphanous Na (1923) showing the film a woman completely transparent, in which body, naked eye, to admire internal organs. Handy for the detection of anomalies and the dream of hypochondriacs.
Na Diaphanous - 1923
is interesting to pay attention to titles that Xul put two of his works of 1946: Most plants and rocks and live. It is clear that the artist displays a peaceful process of conversion of men into rocks, and over, and men in plants, still under way.
Almost Plants - 1946 + Lagui Rocks - 1933
The city has been considered the arena of detonation modernist space (the city), object (the machine) and desire (utopia) have functioned as the triad characterizing the vanguard and the city has been billed as the scene where the show whose audience is the whole world.
Against the predictions, Xul imagine their worlds with a very small population. Two reasons may have prompted this idea: that the human race was already a rarity, for crosses with other kingdoms (Country Red Teti, 1949) or they reflect his works is the part of humanity, for spiritual elevation, dwell in other bodies in space.
Teti - 1949
To learn more about Xul Solar's work, visit the museum: http://www.xulsolar.org.ar/xulobras . html
- Text compiled and adapted from: The Latin American Utopia: Xul Solar, Matta and Lam Lorenzo Alacalá May. PAN Foundation KLUB - Xul Solar Museum
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