importante para mim e para quem tem obras minhas:

INTERNATIONAL CONNECTIONS
THROUGH THE KINETIC:
TRANSATLANTIC DIALOGUES
BETWEEN EASTERN EUROPE AND
LATIN AMERICA

 Daniel Garza Usabiaga 
was awarded a PhD in Art History and Theory from the University
of Essex and has concluded Postdoctoral
Studies at the Institute of Aesthetic Research
at the National Autonomous University
of Mexico (UNAM). He is the author of Mathias
Georitz and Emotional Architecture: A Critical Review,
1952–1968 (Vanilla Planifolia, 2011). He
was previously Curator at the Museum of Modern
Art in Mexico City and Chief Curator at the
Museo Universitario del Chopo. Currently he
is a Lecturer at the National School of Painting,
Sculpture, and Etching La Esmeralda and Artistic
Director of Zona Maco, the contemporary
art fair in Mexico City.

The relations between artists and artistic practices in Latin America
and Eastern Europe during the postwar and Cold War years is
a rich field of inquiry, and offers several avenues of research. Regarding
the theme of the kinetic, three case studies will be introduced,
all involving connections between Mexico and Eastern Europe. Each
will revisit possible understandings of the kinetic, a term and practice
that have historically been defined and understood in different
manners.

The first case regards the work of Myra Landau, a
Romanian-born artist who went into exile as a result of the rise of
fascism and the Second World War in Europe. In Mexico, she produced
a series of works known as Rhythms which, although static, conform
to an understanding of the kinetic. The second case discusses
David Alfaro Siqueiros as a global modernizer of Realism.........
............
.
 DANIEL GARZA USABIAGA
 INTERNATIONAL CONNECTIONS THROUGH THE KINETIC

During the Cold War, Mexico marketed itself as a model
non-aligned nation, a position that the government championed as
part of its foreign policy of the 1970s. Mexico tailored this image—of
a highly cosmopolitan nation that transcended ideological conflicts
between the so-called “free” and “Communist” worlds—through a
system that mixed a market economy with revolutionary discourse
and public policies inspired by the ideals of the social revolution of
1910.
.........................................................................................................

 DANIEL GARZA USABIAGA

while, in Mexico City, the Museum of Modern Art opened in 1964. By
the end of 1966, its program had featured two group exhibitions of
contemporary artists from Poland and Czechoslovakia. ....................
..........................................................................

Myra Landau´s Rhythms

Even before the outbreak of the Second World War,
many artists and architects from Eastern Europe settled in Latin
America, and this phenomenon continued during the global postwar
years. Several artists from these European countries developed a
practice with kinetic concerns and perceptual interests. Their production
encompassed two- or three-dimensional works that were
static or assisted by machines, or which achieved the effect of dynamism
or movement by different means; pieces produced, mainly, to
be exhibited in spaces such as museums and galleries.
 Myra Landau is just one of the many artists born in Eastern Europe that later lived
and worked in Mexico during the twentieth century, and she can be
counted in this group.

Myra Landau produced works that relate to the kinetic.

Her work is endowed with certain concerns that seem to conform to
Guy Brett´s conception of the kinetic: “static works that are radical
and dynamic in their formal structures.”7 Born in Romania, she went
into exile first in Brazil and then to Mexico. Landau arrived in the capital
in 1960, became a Mexican citizen and lived in the country until
1994. In Mexico, she produced a coherent series of works comprised
of drawings, paintings, and textiles; under her concept of Rhythms

 Arte Actual de Polonia (Contemporary Art from Poland) and Arte Actual Checoslovaco
(Czechoslovakian Contemporary Art) opened, respectively, in May and
September, 1966. For the full list of artists participating in these
exhibitions see La máquina visual. Una revision de las exposiciones del Museo de
Arte Moderno, 1964-1988, ed. Daniel Garza Usabiaga (Mexico City: Museo de
Arte Moderno, 2011), 237......................................................................................
......................................................................................

Rita Eder, a researcher and professor at the Instituto de Investigaciones
Estéticas at the National Autonomous University of Mexico, has mentioned
that in Landau’s works a system of forces (sustained in the
laws of chromatic and luminous rhythms) is altered by the subjective
imagination (highlighting, for example, the suggestive nature,
fugacity, and concrete values of the colors in each work)

 Often cited as musical, her work goes beyond this domain and achieves the status
of vibration. Her artistic production (defined by the artist as “art
research”) showcases an awareness of energy translated into graphic
form.10 Landau played an active role in the development of non-figurative
art in Mexico during the 1960s and 1970s and also participated
in multidisciplinary and experimental activities such as the
Museo Dinámico (Dynamic Museum), an avant-garde project devised
by diplomat and Director of the National Institute of Fine Arts Miguel
Salas Anzures and architect Manuel Larrosa that sought new ways
to articulate the event of the exhibition.

David Alfaro Siqueiros and Postwar Realism

A second avenue of research, one that addresses the
changes to the practice of Realism in the 1950s, problematizes the
relationship between the kinetic and forms of abstract or non-objective
art. Several scholars have mentioned that Mexican Muralism
became one of the alternative models for forms of public art in Eastern
Europe during the years of “Thaw” Modernism.


 Rita Eder, “Myra Landau: los laberintos y el desierto” http://www.galeria.
ferrari.xalapa.net/salavirtual/ml_eder.htm


 INTERNATIONAL CONNECTIONS THROUGH THE KINETIC

 Mari Carmen Ramírez, Director of the International Center
for the Arts of the Americas at The Museum of Fine Arts, Houston,
has mentioned one way in which Siqueiros can be viewed as a precursor
of a “kinetic constellation” within Latin American art: his
“main contribution to the theory movement was condensed in the
notion of the cinematographic mural, which was theorized after his
encounter with Sergei Eisenstein in 1932.”

International promotion of aesthetic platforms is a
consistent mark of the avant-garde, and during the 1950s, Siqueiros
traveled to several countries in order to promote experimentation
in Realism and create a legacy of Muralism as an avant-garde. In the
late summer of 1955, Siqueiros visited Poland, Czechoslovakia, and
the former USSR. In all of these places he criticized the classicist formulas
of Socialist Realism and condemned its lack of modern experimentation.
According to the Mexican press, during this trip Siqueiros
was able to secure a monumental commission from the Polish
state in order to execute a mural of more than 3,000 square meters
in the 10th Anniversary Stadium (Stadion Dziesiçiolecia) in Warsaw. The
production of the mural required the work of more than twenty artists,
including painters and sculptors. Siqueiros envisioned an international
team of Polish and Mexican artists, among other nationalities.


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coloquei o que o autor Daniel Garza Usabiaga  disse de mim  e o grande  muralista Siqueiros - o qual tive a sorte de conhecer! 
espero que possam entender e  apreciar .... infelizmente tive que cortar algo....