designer of the everyday / rudolf steiner hilma af klint / clairvoyant

MAGAZINE
OF THE ESPOO
MUSEUM OF
MODERN ART
Spring 2014
DESIGNER OF
THE EVERYDAY /
RUDOLF
STEINER
HILMA AF KLINT /
CLAIRVOYANT
– ART FROM
THE SPIRIT
WORLD
THE REFUSAL
OF TIME /
WILLIAM
KENTRIDGE
2
3
EMMA
RUDOLF STEINER Am Amfang war die Wärme, 1924. HILMA AF KLINT Parsifal no 16, 1916. WILLIAM KENTRIDGE The Refusal of Time, 2012.
JAAKKO MATTILA Aukko, 2013. EGGERT PÉTURSSON Untitled (Nordurland Tröllaskagi), 2011.
Exhibitions + Contents
Viewpoint
3VIEWPOINT
The Steiner Phenomenon
4 DESIGNER OF
THE EVERYDAY,
RUDOLF STEINER
AT EMMA
Designer of the Everyday /
Rudolf Steiner /
26.2.2014-11.5.2014
Feel the Spirit! /
26.2.2014-11.5.2014
10 HILMA AF KLINT
Clairvoyant - Art from
the spirit world
14 THE REFUSAL OF TIME
BY WILLIAM KENTRIDGE
19 UPCOMING PROGRAMME
William Kentridge /
The Refusal of Time /
18.6.2014-14.9.2014
xxxxxx /
Jaakko Mattila /
22.8.2014-31.10.2014
Events in Nature /
25.4.2013-26.3.2015
The Saastamoinen Foundation
Art Collection /
Permanently
Publisher EMMA – Espoo Museum of Modern Art / xxxxx Inari Ranta /
Editorial board Pilvi Kalhama, Ari Karttunen, Päivi Karttunen, Nana Salin,
Hannele Savelainen, Päivi Talasmaa / Image editor Ari Karttunen /
Graphic design and layout Dog Design / Printing house Lönnberg Painot Oy
THE MAGAZINE OF
ESPOO MUSEUM
OF MODERN ART
PRINT EDITION 25 000 / NEXT ISSUE AUTUMN 2014 / CHANGE OF ADDRESS, ORDERS (GRATIS)
AND FEEDBACK [email protected] / CONTACT INFORMATION ON BACK COVER /
FRONT COVER: HILMA AF KLINT, THE DOVE NO 2, SERIES UW, GROUP 9, 1915
The Steiner
Phenomenon
I
n recent years, the anthroposophist Rudolf
Steiner (1861–1925) has become a topical
phenomenon. Although we are accustomed
to associate him with pedagogy, biodynamic
agriculture and alternative medicine, less
attention has been paid to his personal and
philosophical influence on the arts and society in general.
Steiner opposed the Zeitgeist of the early
20th century and sought to rediscover the spirituality of man’s existence. Today, as when Steiner
began his work, we are faced with the unknown
challenges of technological progress and the fragility of our planet. Our hectic life is replete with
materialism and totally fragmented. Our Zeitgeist embodies a powerful longing for spirituality and a spiritual, communal way of life. The
rekindled interest in Steiner is an aspect of this.
The time has come to consider Steiner in a new
light and dismantle our prejudices and restrictive
thoughts. Steiner is part of the history of modernism; an influential figure in the great spiritual
and social turmoil of the early 20th century. He
was a controversial figure in his own time – as
spiritual reformers always are – a social reformer, idealist and practical organiser rolled into one.
In developing his philosophy, anthroposophy,
Steiner wished to create a holistic world view in
which man, mankind, the earth and the cosmos
were all part of one great whole. The polymath
Steiner wished to include in his philosophy all
known fields of knowledge; all which belonged
to man’s life, from atoms to space, from man to
universe. His boundary-breaking way of thinking
made no difference between science, art and spirituality. Thanks to his comprehensive and multidisciplinary philosophy, Steiner’s thinking can
still be seen in our society from everyday aesthetics to general wellbeing. The Vitra Design Museum’s exhibition at EMMA clarifies this diversity
which we do not always recognise immediately.
The sheer abundance of material in the
EMMA exhibition Designer of the Everyday­
– Rudolf Steiner – original drawings and plans,
correspondence with cultural figures, contemporary and modern designs, visual arts – tells
of Steiner’s total commitment to life and the extensive influence of his philosophy. In modern
art, Steiner’s way of using the blackboard as a
pedagogical tool in lectures can be seen in many
ways. The combination of blackboard, writing
and image has also aroused considerable interest among researchers. Steiner’s architecture
has also inspired contemporary architects. The
connection between the various branches of art,
still evident in different art genres, could already
be recognised in Steiner’s thinking.
Rudolf Steiner was a very modern person; a
tireless lecturer, writer, traveller, participator
and communicator and the initiator of diverse
schemes. His heritage is exceptionally broadbased, often with strange angles, but above all
for its brilliant thoughts, reformist ideas and
faith in humanity. •
Hannele Savelainen
Researcher, exhibitions,
EMMA
Päivi Talasmaa
Curator, exhibitions,
EMMA
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5
EMMA
TEXT / PÄIVI TALASMAA
PHOTOS / RUDOLF STEINER ARCHIV, VITRA DESIGN MUSEUM
DESIGNER OF
THE EVERYDAY,
RUDOLF
STEINER
AT EMMA
E
MMA’s Rudolf Steiner exhibition
is the first major retrospective
ever shown in Finland. It contains almost four hundred exhibits – furniture, scale models, art
works, blackboard drawings and
texts. The starting point for the
exhibition was Steiner’s lifework,
something that proved to be a real
treasure trove and enabled his work and influence to be portrayed in a fascinating manner.
The idea of such an exhibition was first mooted
at EMMA some three years ago when we decided
to visit the Vitra Design Museum’s Rudolf Steiner
exhibition and set off for Weil am Rhein in Ger-
many. It was thrilling to discover the connections
to modern design and visual arts this famous architectural and design museum had disvcovered
from the lifework of the Austrian philosopher,
artist and art pedagogue Rudolf Steiner.
Topicality of the Steiner exhibition
The Vitra Design Museum organised this travelling exhibition to commemorate the 150th anniversary of the birth of Rudolf Steiner (1861–
1925). During the arrangements for the EMMA
exhibition we noticed how interest in Steiner’s
work had also grown elsewhere in the world. For
instance, at last summer’s Venice Biennale, the
main hall of the Giardin Pavilion was devoted to
Rudolf Steinerin muistikirjan piirros
kuvaa värien ja ihmisen henkisen
kehityksen välistä yhteyttä.
Antroposofisten oppien mukaan
violetti väri merkitsee korkeinta
tasoa. Lyijykynäpiirros vuodelta
1923, Rudolf Steiner Archiv.
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7
EMMA
Steiner wished
the architecture
and interiors of
the Goetheanum
to be based on
anthroposophy.
together. It was clear to Steiner that there was
a connection between seen and unseen reality.
For him reality was no longer “true”, but some
“aesthetic formation”. He saw his own work as
a search for the spiritual, using imagination, inspiration and intuition in addition to classical
research methods.
Steiner’s major architectural project:
the Goetheanums
Sveitsin Dornachissa sijaitseva Goetheanum lännestä päin kuvattuna. Ensimmäinen puusta rakennettu tuhopoltettiin vuonna
1922. Kuvassa olevan toisen betonisen Goetheanumin rakentaminen aloitettiin heti. VITRA DESIGN MUSEUM, PHOTO: DEIDI VON SCHAEWEN
Steiner with a display of his blackboard drawings.
Evidence of the interest aroused by Rudolf
Steiner’s thoughts, writings and lectures can be
seen in the following he attracted among contemporary artists. His life coincided with the rise
of modernism, which we associate with Wassily
Kandinsky and Kazimir Malevich. They both
knew Steiner, attended his lectures and corresponded with him. The present exhibitions
­Rudolf Steiner – Designer of the Everyday and
Feel the Spirit! show how Steiner influenced con-
temporary artists, particularly Hilmar af Klint,
one of the pioneers of Swedish abstract art.
Steiner and anthroposophy
At the beginning of the 20th century Steiner was
head of the German branch of the Theosophical
Society. However, he renounced theosophy and
developed anthroposophy, “the knowledge of
what it is to be human”. Steiner saw the world as
holistic; his anthroposophist ideology aimed at
bringing science, art, spirituality and social life
In his early years Steiner worked as a teacher
and Goethe scholar. Many of his ideas, like his
colour theory, owe their origin to Goethe. The
majority of the exhibits come from the Rudolf
Steiner archives and the Goetheanum art collection in Dornach, Switzerland. It is still the centre
for his ideas. The highlights of the EMMA exhibition are the large model of the Goetheanum
and the two polygon colour rooms built according to Steiner’s model.
Steiner wished the architecture and interiors
of the Goetheanum to be based on anthroposophy. According to his understanding of art, environmental planning should not be seen as a free
art form but as a spiritually influencing activity.
The style of building he initiated has, even later
on, been based on irregular, crooked windows,
pastel coloured interiors and almost completely
round furniture.
The organic principle
as the basis for design
The relationship between nature, art and technology was a major theme among artists in the
last century and many stylistic features originated during the Art Nouveau period at the end
of the 19th century. Steiner also studied the importance of the principles behind natural forms.
Around 1910 Steiner developed his theory of
metamorphosis in which the world was divided
into four parts – the physical world, plant world,
animal world and the world of man. According
to this, everyday applied arts should use a combination of living, organic forms.
Many of Steiner’s architectonic and furniture
designs in the 1920s were characterised by a crystalline structure, which owes as much to the influence of nature as to scientific studies of geometry.
Steiner and modernism
Organic forms and wood were highly popular
also in classical modernist circles. A good example of this is Alvar Aalto’s work in Finland.
The American Frank Lloyd Wright, one of the
most influential 20th century architects, was an
early creator of organic architecture. His famous
Prairie Houses from the 1910s were built with
untreated natural materials. Wright was also one
of the first architects to design everything for a
building including the interiors and furniture.
Steiner’s lecture drawings
Rudolf Steiner illustrated his lectures by drawing and writing with white or coloured chalks
on blackboards. These blackboards were wellknown in anthroposophical circles, but in art
circles they were only “discovered” in the 1990s.
The major issues which Steiner dealt with in
his lecture drawings, the interaction of language
and image or the relationship between science
and art, are still central themes in modern art.
Many modern artists were inspired by Steiner’s
use of blackboards, as for example the German
conceptualist Joseph Beuys (1921–86) who used
them in his performances. Beuys placed social
action and human interaction on a par with­
a work of art. Beuys’ “actions” in the 1970s –
actually lectures on art and politics – were an
attempt to create a democratic society.
Also Olafur Eliasson (born 1967), whose light
installation can be seen in the Feel the Spirit!
exhibition, works in a wide range of mediums.
Interested in optics and architecture, he combines science with art and views the surrounding
world as a challenge to art.
Modern design
Anthroposophy does not see art and design as
separate factors, but extends them into the environment. Nowadays, many architects and
8
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EMMA
© VITRA
­ esigners have created crystalline forms and
d
furniture resembling plants.
The exhibition also shows chairs from the
Vitra collection, such as the organic-shaped Vegetal-chair by the Bouroullec brothers from recycled polyamide. Similarly, the German designer
Konstantin Grcic’s Chair One resembles the
bottom of a basket or lattice work. Temple-like
spaces have been designed by today’s top architects like Zaha Hadid and Herzog & de Meuron.
VITRA DESIGN MUSEUM, PHOTO: ANDREAS SÜTTERLIN
Designer of the Everyday
– Rudolf Steiner
Ronan & Erwan Bouroullec
Vegetal Chair, Vitra 2006
Vitra Design Museum
The exhibition offers a comprehensive presentation of the origins of Steiner’s philosophy and
pedagogy. Numerous original exhibits reflecting
everyday life, suggesting comparisons to 20th
century design, give the viewer a wonderful opportunity of tracing similarities between Steiner
and modern design. Rudolf Steiner’s lecture
drawings have in many ways rekindled the use
of the blackboard in contemporary art. •
Näyttelyssä mukana olevaan
”parantavaan värikammioon”
voi mennä sisälle. Se on rakennettu
2010 Steinerin vuonna 1913 laatimien
ohjeiden mukaan.
Näyttely Arjen muotoilija - Rudolf Steiner
avautuu EMMAssa 26.2.2014.
Rudolf Steinerin luennoista on
säilynyt yhteensä noin tuhat liitu­
taulupiirrosta. Ylimpänä Toisen
Goetheanumin alkuperäisaihe
(1.1.1924), alh. vas. ”Anthroposophie
und Kosmosophie” (9.10.1921) ja alh.
oik. ”Die falsche Furcht vor der Spiri­
tuellen” eli ”Henkisen väärä pelko”
(6.5.1922). Rudolf Steiner Archiv.
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EMMA
Joutsen-sarjassa teosten ilmaisu
siirtyy asteittain esittävästä kohti
abstraktia. Hilma af Klint, Joutsenet
nro 2 ja nro 10, sarja SUW, ryhmä 9,
1914, Stiftelsen Hilma af Klints Verk.
HILMA af KLINT
Clairvoyant - Art from the spirit world
The Swedish artist Hilma af Klint (1862-1944) was exceptional
in many ways. She forged a career as a woman artist at a time
when the arts were a male prerogative, and pioneered a style
of painting that was unprecedentedly radical in content and
expression. She maintained a strict separation between
her private and public life and art. Whilst earning her living
as a traditional portrait and landscape artist, she secretly
painted the esoteric works which gave rise to a uniquely rich
and fascinating cosmos. The 21 works in the EMMA exhibition
come from the famous Paintings for the Temple series.
TEXT / HANNELE SAVELAINEN PHOTOS / STIFTELSEN HILMA AF KLINTS VERK
Harbinger of the spiritual world
Hilma af Klint’s esoteric paintings from the early 20th century were created through a medium
at a séance, later more independently, but even
then through the agency of spirits she called the
High Masters. She was the harbinger of these
spirits and owed the content of her art to them.
Af Klint continuously took precise notes of her
connections with spirit world. At the beginning
her paintings were like automatic writing. Gradually her art came to reflect the ambiguities of
the spiritual world.
After becoming acquainted with theosophy
at the end of the 19th century, af Klint’s belief
in the spiritual origins of art only strengthened.
Later when she met Rudolf Steiner and became
an anthroposophist, these beliefs became even
stronger. From the 1910s onwards, however, she
felt that she was herself controlling and interpreting her work.
Steinerin vaikutuksesta af Klintin taiteeseen alkoi
ilmestyä esoteeriseen kristillisyyteen viittaavia
symboleita. Hilma af Klint, Kyyhkynen nro 11, sarja
UW, ryhmä 9, 1915, Stiftelsen Hilma af Klints Verk.
Paintings for the Temple
– the dream of oneness
In 1906 Hilma af Klint began work on her Paintings for the Temple (1906–1916), which consists
of 193 paintings in various series and groups,
including the Swan, Dove and Parsifal. The content of her spiritually oriented philosophy of life
and art was based on the dualism prevailing in
society and manifested through opposites. In
her Temple series she wished to bring out the
unseen reality, the oneness, beyond the visible
dualistic world. Everything is moving, developing and changing, striving towards oneness, the
beginning, God. The starting point in the works
is the representational which gradually develops
from one picture to the next towards abstract opposites and colours – man/woman, black/white.
In her art af Klint describes the freeing of the
spirit from the flesh, profane and human longing, merging together, oneness.
The man symbols in af Klint’s oeuvre are derived from the occult chemical formulae and
atoms of theosophy and Eastern influences like
lotus flowers and mandala ornamentation. Un-
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EMMA
MODERNA MUSEET
The various coloured rectangles of
the Parsifal series (No 2, 1916) appear
to be purely abstract colour studies,
but to af Klint they constituted
an attempt to understand and
describe the inner and outer
dimensions of the physical level,
especially of humans.
Vastavärit sininen (mies) ja keltainen
(nainen) visualisoivat af Klintin
dualistista ajattelua. Hilma af Klint,
Kyyhkynen nro 4, sarja UW, ryhmä 9,
1915, Stiftelsen Hilma af Klints Verk.
der Steiner’s influence from 1912 onwards new
symbols related to the esoteric Christian Rosicrucian cult, cross and crucifixion motifs, enter
her imagery.
Is the father of abstract art
then a mother?
The art world seldom experiences such surprises
as The Spiritual in Art – Abstract Painting 1890–
1985 exhibition in Los Angeles in 1986. Hilma
af Klint’s intriguing, strange paintings shattered
the prevailing canon of abstract art. The exhibition proved that as early as 1906, many years
before the art of the accepted fathers of abstract
art, Wassily Kandinsky and Kazimir Malevich,
had appeared, af Klint was painting works that
could be considered abstract.
Af Klint, however, would have been quite indifferent to any discussion of her pioneering role
in abstract art. In her opinion, art was in no sense
abstract. Its essential content was to portray the
different dimensions of the spiritual, something
that was always precisely defined. For the “official” developers of abstract art – Kandinsky,
Malevich or Mondrian for instance – it was also
important to believe in the spiritual in visual
creativity. They also sought another reality that
penetrated through the actual “surface” of material forms. Together and individually they were
the avant-garde of their time.
Art of the future
Hilma af Klint arrived at a non-representational
form partly for the same reason but years earlier, and above all for her courageous response to
the inner voice and received images. She was a
visionary clairvoyant, harbinger of the spiritual
world. She had no wish to participate in public
art life, which is why she gave instructions in her
will that her works could not be exhibited until
20 years after her death. Hilma af Klint knew
and valued her worth. Her work was the art of
the future, for the people of the future. •
Hilma af Klint left almost 200 oil paintings, about
800 gouaches, watercolours and drawings, and 150
notebooks to her nephew Erik af Klint. The Hilma
af Klint Foundation was established in the 1970s. All
the works in the exhibition belong to the Foundation.
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EMMA
TEXT / PÄIVI TALASMAA
PHOTOS / MATTEO MONTI, THYS DULLAART
The Refusal of Time by
William Kentridge, The Refusal of Time, 2012, MAXXI Museo nazionale delle arti del XXI secolo, Roma.
MATTEO MONTI, COURTECY FONDAZIONE MAXXI
William
Kentridge
This summer EMMA will exhibit works
by one of the leading figures on
today’s art scene, William Kentridge
(born 1955). The exhibition consists
of The Refusal of Time, first shown
at the contemporary art happening
Documenta 13 in Kassel, Germany, in
2012, and Other Faces, 2011, from the
Saastamoinen Foundation’s collection.
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EMMA
W
illiam Kentridge is
a South African artist best known for his
drawings and animated films. In his art he
frequently comments
on social injustice and
apartheid, the victims
of whom were often
defended by his lawyer parents. Kentridge’s art
owes its origins to the avant-garde theatre and
politically committed art. He lives and works in
Johannesburg, the town where he was born.
The Refusal of Time
In his work,
Kentridge does not
attempt to explain
the meaning of time
scientifically.
Other Faces
This is a typical Kentridge work, charcoal drawings filmed onto 35 mm film with a movie camera. The music is composed by Philip Miller,
William Kentridge
työhuoneellaan
Johannesburgissa.
THYS DULLAART, COURTECY OF THE ARTIST AND MARIAN GOODMAN GALLERY, PARIS AND NEW YORK
William Kentridge produced The Refusal of Time
in collaboration with science historian Peter Galison. It grew out of years of discussions between
them about the different historical conceptions
of time. The work is a five-channel video installation, projected onto three walls, with megaphones
and a massive wooden breathing machine, the
“elephant”. Commissioned by Documenta 13’s
curator Carolyn Christov-Bakargiev, it proved to
be one of the main draws of the happening.
Is it possible to depict time or even materialise
it – and what is the element of refusal in the work?
Kentridge has explained that it refuses certainty.
Originally the project was called Three Time Tables which refers to the three concepts of time –
Newton’s time, Einstein’s relativity theory time
and time disappearing in a black hole. Gradually
the project came to include other refusals, “…
time has never been just a technical, mechanical
or physical thing, It has always had something to
do with immortality or control of the individual”
(Peter Galison). The work portrays the develop-
ment of measuring standard time during industrialisation in the 19th century when modern society was moulded by a common system of time.
There is a powerful imagery of colonialism
in Kentridge’s work. Politically, refusal meant
the denial of the European sense of order imposed through time zones and also referred to
other forms of control. Man cannot attack the
course of the sun or the passage of the day. But
those in power can be opposed when it comes
to defining time.
In his work, Kentridge does not attempt to explain the meaning of time scientifically. As an
artist he takes the viewer on a journey to the
frontiers of theatre, science and art, creating a
profound and playful synthesis of art. Kentridge
presents these associations through drawings,
films, sound and editing.
One of the central questions of modern physics is whether all information will disappear
into a black hole. Will something remain? The
string theory with its multi dimensions gives
rise to the belief that something will indeed
remain. The dramatic ending of the piece is a
typical Kentridge shadow procession – figures
dance, lurch or march to the beat of music. A
man in a pneumatic (pressurised) bubble suit
dances with a woman, leaving the door open in
the hope of a better judgement.
The work is owned jointly by The Metropolitan Museum of Art, New York, and the San Francisco Museum of Modern Art.
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EMMA
MATTEO MONTI, COURTECY FONDAZIONE MAXXI
Upcoming programme
8.10.2014-11.1.2015
Victor Vasarely
The Victor Vasarely retrospective in EMMA presents
a wide selection of works from one of the pioneers
of op art, Victor Vasarely (1906-1977). The master of
abstract composition built his paintings as geometric
patterns, bright colour juxtapositions, kinetic webs
and sets of lines, thereby creating optical embossing
and a sense of movement. Works by Matti Kujasalo,
a Finnish painter who also works in kineticism, will be
on view, as well.
The exhibition is a collaboration between EMMA
and the Musée d’Ixelles in Brussels and Museum Haus
Konstruktiv in Zurich. The curator is Serge Lemoine.
Victor Vasarely, Cheyt-rond-va,
1970, Paris, Collection Lahumière,
© photo Galerie Lahumière.
William Kentridge, The Refusal of Time,
2012, MAXXI Museo nazionale delle arti
del XXI secolo, Roma.
21.10.2014-11.1.2015
Tuomas A. Laitinen
who has produced the music and sound for
many of Kentridge’s projects, among them The
Refusal of Time.
In Other Faces, Kentridge returns to the figure
of Soho Eckstein, industrialist and developer, the
alter ego of Felix Teitlbaum, the central figure in
the nine-part Drawings for Projection film cycle
(1989–2003). Soho is a mean, self-centred man,
dressed in a grey pin-striped and smoking a cigar.
Felix Teitlbaum, on the other hand, always appears as a naked, romantic figure, a melancholic
artistic stereotype always in search of his identity. In the cycle, Soho builds an empire with money from gold mines and Felix has an affair with
Soho’s wife. Their adventures continue in several
works and as the series progresses so Soho gradually develops a sense of guilt about his crimes.
In Other Faces Soho moves within a Johannesburg landscape. The city no longer functions
as a background for him but acquires a subjective role: Kentridge transports the viewer into
the townscape simultaneously bringing out the
problems of xenophobia.
William Kentridge’s works have been shown
at numerous important international venues,
such as the Venice Biennales in 2012, 2002 and
1997. He has had exhibitions at the Tate Modern, London, the Louvre and Jeu de Paume in
Paris, The Museum of Modern Art in New York,
The National Museum of Modern Art in Kyoto
and the Albertina in Vienna. •
William Kentridge - The Refusal of Time
18.6.2014-14.9.2014 at EMMA.
Tuomas A. Laitinen (b. 1976), who works on inter­
national video projects was awarded the first Finnish
Arts’ Academy (Suomen taideakatemian säätiö) prize.
As part of the prize, he will hold a solo exhibition of
his socially and societally poignant video installations
in EMMA in autumn 2014.
Tuomas A. Laitinen has graduated from the Finnish
Academy of Fine Arts’ Time and Space Arts programme
in 2008. He lives and works in the US. Thus far, he has
realized the most projects in China, where the changes
of the global world are most visible. He has also exhibited works in Australia, Japan and Turkey, among others.
Tuomas A. Laitinen,
Real State, 2014,
Stills from digital film.
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