Pulchri Concrete Art

International Exhibition of Concrete Art

In constructivism, which emerged in Russia in the early 20th century, geometric shapes were combined into compositions, while the artists consciously refrained from explanation and especially from subjective expression. The composition of the elements and their relationship to each other and surrounding space, were crucial in this art movement. The constructivist ideas, that focused on the measurable, the practical and the purely objective, developed into an art movement with different interpretations all over the world, especially in Europe (Bauhaus, The Style) and America. In the Netherlands, initially a style evolved that advocated a strictly systematic approach. This was succeeded, after a short period of decline, by a variety of interpretations. Many artists of De Stijl, later followed by individual artists, used a geometric design language which, also in reaction to the fierce art of the expressionist COBRA movement, flourished in the 1960s and 1970s. The artist's personality and distinctive personal style had to be eliminated in order to create art as objective as possible. In many cases however, making number and measure visible was perceived as dogmatic and restrictive, so in the decades after this movement’s heyday a more individual, subjective concrete art evolved, which captivates artists to this day. This is especially so in the Netherlands, Germany, Hungary and, with a slightly more light-hearted variant, in France.

THEO VAN DOESBURG

The Dutch artist, architect and art theorist Theo van Doesburg (1883-1931) published his six point manifesto on concrete art in 1930. In this he stated among other things : ’Concrete art is universal art and must be the product of the artist's conscious and rational mind only’. Van Doesburg indicated in his manifesto that concrete art must in no way depict visual symbols or ideas from the natural world, but has to arise exclusively from the mind of the artist, finding meaning only in its own material form. It must be created conceptually, with pure shapes and colours only, arranged in premeditated order. These days, concrete art has become synonymous with abstract geometric art.

CALVINISM

So, concrete art is created according to given rules and principles. It is made by artists who use fixed measurements and distancing of elements, arranged in a certain order or repetition – and this confined in advance by terms and conditions (usually decided upon by the artist him or herself), that determine the appearance of the artwork.

In my view, concrete or geometric-abstract art (also known as systematic art) still, or again, taking hold of artists in the Netherlands, has to do with the Calvinist nature of this country. Order, system, method, principle and primary colours, they all fit in nicely. Just like the straight ditches and canals and the rectangular meadows and fields with corn, beets and bulbs fit in. If only the mind (ratio) manifested itself, this would yield rather cold and calculated works of art. By also allowing feelings (emotion) in, a dimension is added; in some cases this has resulted in organic geometric abstraction. By mixing colours, subjective brushwork, less strict elementary shapes, intuitive choices or referring to reality (a shadow taking on a geometric shape, a blue plane as the sky, colours referring to nature or ordering principles based on laws of nature), a new, completely individual art was created. A more inspirited art, in which feeling and intuition are stronger than ratio and principles of form.

TRENDS IN CONCRETE ART

At present, with new generations of artists, different trends can be observed in concrete art. Although the strict ratio doctrine (exact proportions and primary colours that do not represent an emotion or expression) has not been abandoned, it is often accused of being dogmatic. The school of concrete art where intuition is the guiding principle, is more diverse. Although the system is still identifiable in most works, severity has been abandoned and poetry and warmth are significant characteristics. Personal preferences prevail, the neutral point of view has been replaced by the individual statement. Contemporary artists do not feel bound to definitions, rules or restrictions. So in this context, two groups can be distinguished; the orthodox (who apply the rules consistently) and the liberal ones (who interpret the rules whimsically or apply their own rules). Strictly according to doctrine or deviating from the rules, rigorous of frivolous, ratio or feeling, dogmatic or free - and everything in between.

DISPASSIONATE

The classifications ‘cool and aloof’ make sense. In 1968, in the introduction of an exhibition in De Nieuwe Doelen in Gorinchem, participating artist Ad Dekkers (1938-1974) wrote: “The exhibited works are part of what is called the dispassionate orientation. However, this cerebral starting point does not prevent the artists from creating extremely refined visual presentations. Despite their attitude of scientific objectivity, the highly individual imagination catches the eye. They do not call them their paintings, but their programs. Works from this cool orientation are understood as works reflecting on their own issues.” At the same time Dekkers explained there could be no doubt his work has an emotional side as well: “ I don’t think I work mathematically. That doesn’t interest me. It’s about the poetry I feel in life, that is what I want to convey in my work. I think of myself as a poet, a romantic who wants to express some kind of poetry, by contemporary means.”

GENERATIONS

This Pulchri international exhibition of concrete art, showcases work by several generations of artists. They interpret concrete art in their own way and in many cases seem to advocate the strict method, but for the most part can probably be counted among the liberal ones. This applies to the artists' members of Pulchri, but to a large extent to the foreign artists as well. The participants include seasoned artists such as Bob Bonies (1937), Ewerdt Hilgemann (1938), Eef de Graaf (1939) and Marus van der Made (1940). The two youngest participants are Gábor Szilasi (1980) and Dave Donné (BE, 1980). So, is concrete art an art movement for the older artist after all? You might be tempted to draw this conclusion from the composition of this field of participants. But I think the territory is wider and young artists are indeed interested in what has been achieved by concrete art. Maybe they are seeking the limelight less, or venture into the field of social media instead of the gallery circuit. Anyway; while the starting-point of the artists in this Pulchri Concrete Art exhibition might be comparable - by their use of line, plane and colour - they also strongly diverge in all kinds directions. This is what is gained by over 50 years of geometric abstraction or concrete art. The impersonal, detached and rational has been overtaken by the personal, the poetic and inspired. As a result, this movement has enormous vitality and potential still and is appreciated by a wide audience.

INITIATIVE

Pulchri Concrete Art is an initiative of André van Lier (1951), participating artist and exhibition curator. He has initiated and organised several large art projects, among these the 30 x 30 Project, which his gallery Art Construct presented at Art Basel from 1981 to 1991. Working in collaboration with the IDAC Foundation, this project was exhibited in several museums in different countries, among them the Wilhelm-Hack-Museum, Ludwigshafen am Rhein in Germany. Among the participating artists were Joost Baljeu, Bob Bonies, Verena Loewensberg, Richard Paul Lohse, Turi Simeti and Vera Molner. In 2021 André van Lier was also exhibition curator of the outdoor exhibition Voorhout Monumentaal at Lange Voorhout in The Hague.

PIET AUGUSTIJN,
Former curator contemporary art Gorcums Museum, Gorinchem