2014 | 17 | 222-236
Article title

Przestrzeń otwarta – kształt, symetria i dynamiczna narracja w rzeźbie abstrakcyjnej

Title variants
The Open Space – Shape, Symmetry and Dynamic Narration in Contemporary Abstract Sculpture
Languages of publication
E. Chillida once said that nobody knew what space exactly was. I try to describe a new idea of space that is emerging from theoretical texts on contemporary sculpture written by Kobro, Morris and Chillida. At the same time I want to establish more precise meaning of what the abstraction in sculpture might be. Among the other factors that could help define abstract sculpture are the following factors: analysis of shape or form (geometric as well as non-geometric or so called „geometrized” forms), symmetry (or ‘relative symmetry’) of composition, and finally research on space and its perception (including not only a scientific notion of space but also a natural, perceptual or artistic one). Processes of geometrization and asymmetrization, evident in Kobro’s, Morris’ and Chillida’s works, let the artists articulate the most basic function of sculpture, that is to open space (to change our idea and perception of space). Abstract sculpture enters the space and, at the same time, makes on-lookers move into the space. It unifies inner (generally subjective) and outer (objective) images of space. In my analysis of abstract sculpture I emphasize the role of shape (form, figure) in abstract pieces of art. Also, from the other side, I try to legitimize a relationship between abstraction and representation. I believe that we cannot consider non-representative and/or non-figurative sculpture as abstract sculpture because abstract sculpture includes its own object of perception, representation and reflection, I mean: space. For me, abstract sculpture (artworks by Kobro, Morris or Chillida) is a form of narration about space which is real and concrete in a more strict sense than any representation.
Physical description
  • E. Chillida, Writings, Richter Verlag, Düsseldorf 2009, s. 13.
  • D. Marzona, Minimal Art, Taschen, Köln 2004.
  • K. Kobro, Konstrukcja wisząca (1), 1921 (rekonstrukcja 1972), Muzeum Sztuki, Łódź.
  • K. Kobro, Rzeźba przestrzenna (1), 1925 (rekonstrukcja częściowa 1967), Muzeum Sztuki, Łódź.
  • K. Kobro. W setną rocznicę urodzin 1898–1851, Muzeum Sztuki w Łodzi, 1998.
  • K. Kobro, W. Strzemiński, Kompozycja przestrzeni. Obliczenia rytmu czasoprzestrzennego, Biblioteka „a.r.”, nr 2, Łódź 1931 (reprint Muzeum Sztuki
  • w Łodzi, 1993), s. 44.
  • K. Kobro, Rzeźba i bryła, „Europa”, 1929, nr 2, s. 60.
  • E. Chillida, Berlin, 2000, Berlin, Niemcy.
  • E. Chillida, Eulogy to the Horizon, 1989, Gijón, Hiszpania.
  • E. Chillida, Advice to Space V, 1993, Muzeum Guggenheim w Bilbao, Hiszpania.
  • R. Morris, Uwagi o rzeźbie. Teksty, tłum. różni, Muzeum Sztuki w Łodzi, Łódź 2010.
  • A. Kotula, P. Krakowski, Rzeźba współczesna, WAiF, Warszawa 1985, s. 331.
  • R. Morris, Untitled (Mirrored Cubes), 1965, Tate Gallery, London, Wielka Brytania; R. Morris, Untitled (Pine Portal with Mirrors), 1961 (rekonstrukcja 1978), w prywatnych zbiorach artysty.
  • K. Kobro, Kompozycja przestrzenna (5), 1929, Muzeum Sztuki, Łódź.
Document Type
Publication order reference
YADDA identifier
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