VERENA LOWSENBERG - Biography
VERENA LOEWENSBERG
OUTSIDE THE GERMAN AREA, THERE IS NO MORE REASONING ABOUT ZURICH CONCRETISM, WHICH IN REALITY WAS ONE OF THE MOST SIGNIFICANT EVENTS IN THE TRANSIT BETWEEN THE 30'S AND 40'S.
LOEWENSBERG, BORN IN ZURICH, MOVES FROM THE PARIS OF ABSTRACTION-CREATION AND FROM THE RELATIONSHIP WITH AUGUSTE HERBIN, OR FROM THE BAUHAUSIAN UNDERSTANDING MORE ORTHODOX THAN MATURE KANDINSKIJ. THEN COMES THE SATISFACTION WITH MAX BILL, AND IN THE POST WAR THE ADHESION TO THE STRICT CONCRETISM THAT THEY PREACHED.
NOT ART WITHOUT OBJECTS, BUT ART OF EQUIVALENT GEOMETRIC FORMS OF THOUGHT: THIS IS THE AUTHENTICALLY ORIGINAL ASSUMPTION, THAT ONLY NEOPLASTICISM AND SOVIET AVANT-GARDE HAVE PROMOTED, BEFORE THEN, TO THE EXTREME CONSEQUENCES.
LOEWENSBERG RETURNS FROM MONDRIAN THANKS TO THE FUNDAMENTAL THROUGH VANTONGERLOO, WHICH HAS A LOT OF INFLUENCE ON THE WHOLE GRAVITANT GROUP AROUND BILL, FROM GRAESER TO LOHSE TO HANS CORAY. AT THE SAME TIME, MUCH REFLECTS ON THE EXAMPLE OF ITTEN, WHOSE KUNST DER MAKES RIGHT IN 1961.
LOEWENSBERG, OHNE TITEL, 1945
HIS ACTIVITY TAKES PLACE THEREFORE AROUND THE EXACT STRUCTURE AS A MOMENT OF MEDIATION OF A COLOR THAT DOES NOT RENOUNCE ITS SYMBOLIC NUTRITION, BUT DECLINED IN KEY OF CLEAR RHYTHM AND DRY CONFIGURATION OF GEOMETRIC RELATIONS.
HIS IS TRUE FORMAL RADICALISM, BUT THAT NEVER RENOUNDS THE HUMANISTIC IMPLICATIONS TYPICAL OF EUROPEAN CONCRETISM. OTHER WAYS UNFORTUNATELY WILL TAKE THE EXACT EUROPEAN ART, WHICH WILL MAKE GEOMETRY A TASTE, AND ESSENTIAL VISUALITY A SHOW.
