Alexander Calder Formatted: Justified

Performing Sculpture

“To an engineer, good enough means perfect. With an artist, there's no such thing as perfect.”

This exhibition takes place also at the TATE Modern. I am keen on visiting every Commented [SP1]: Este Also solo usalo si hace parte de
exhibition here. They are brilliant, in terms of museography, curatorial research, una serie de articulos o de un articulo en el cual hablas de
varias exhibiciones. Also es un aditivo, entonces, para
design, location, and dialogue with the public. partir de 0 no tienes que poner un aditivo a no ser que ya
hablaste de otras cosas.
By way of introduction I will to speak about Calder’s background. He was born
(PensilvaniaPennsylvania 1898 – New York 1976) inside an artistic family, his
grandfather was a Scottish born sculptor. Also his father Alexander Stirling Calder was a
wella well-known artists. Calder’s mother studied in Paris she had an incredible
talented making portraits. The family spent some time in Arizona and finally moved
to Pasadena, California. For It was there that Calder started to create small jewelry
pieces as well as his first Circus approaches.

In 1909 they moved to New York City. He graduated in 1919 as a mechanical engineer,
then he started working in the industry. In 1926 after travelling around the USA he
moved to Paris and established ana studio in Montparnasse. There he became friends
with many Avant Garde artists and intellectuals such as Fernand Leger, Joan Mirò,
Marcel Duchamp, Jean Cocteau, Piet Mondrian and some many others.

Something happened in Calder’s life that bringbrought to live his idea of movement Commented [SP2]: Pasado de bring
and kinetic painting. That was in 1930, when he visited Mondrian’s studio, the artist
invited Calder because he had seen The Circus of Calder and he was fascinated by this
show (Go to http://www.theartstory.org/artist-mondrian-piet.htm). From that time
he stared thinking about geometrical elements moving. He too, developed the concept
of mobiles.

In the room 6 of the exhibition at Tate Modern we can see how the combination of
frames, colours and figures in movement gives us certain sensation of theatrical
figures which are shown to the public in a very precise and exquisite way. This room
was the begging of all Calder’s work with free movement, because in the next rooms
we can see how he tries to control the kinetic motion in his art work, yet he recognized
that is better to be open to the endless possibilities of motion rather than trying to
control it.

From that time until his dead in 1976, he began to create a wide variety of artistic
work such as the ceiling of the Aula Magna, Universidad Central de Venezuela as well
as the graphic design for Braniff International Airways’s airplanes and many
monuments and huge scale installations.
By the end of his life, he was very well connected with South America. We can see at
the end of the exhibition the mobile called Black Widow which was hanging at the
Institute of Architects in Sao Paulo, Brazil where he exhibited many times. He was very
influential for the new generation of Brazilians artists such as Lygia Clark and Helio
Oiticica.

For me this exhibition was magical, it increases my curiosity for art and movement.
As soon as you get there you want to know everything about Calder’s life and how he
manage to create such a big variety of work. So it really worth the effort to go there
for a long afternoon and see everything with patient.

Alexander Calder in his Roxbury studio, 1941. Photo credit: Calder Foundation, New York / Art
Resource, NY

Black Widow (1948) has hung at the Instituto de Arquitetos do Brasil in Sao
Source BBC

Alexander Calder pictured with Snow Flurry in 1952.

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Souce the guardian Formatted: Justified

http://www.tate.org.uk/whats-on/tate-modern/exhibition/alexander-calder-
performing-sculpture