ASMTR SPATIAL COLOR MODULATION SERIES - ENRIQUE KROHN

Montura: Sin montura Framework: Frameless

Enrique Krohn

VENEZUELA

CODE EGK003 B.1944

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

ASMTR SPATIAL COLOR MODULATION SERIES

42x42

1978 / P.A./ N/N

SERIGRAPHY / HAND SIGNED

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Enrique Krohn VENEZUELA

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a graphic designer creating logos, advertisements and catalogs. Later he develops other series: SPATIAL COLOR MODULATION, Kromos (1977), Galaxia (1978) and Paracolor (1979), which have a linear system of size variations. Art teacher, he has done research works published in the magazine Imagen. Among other collective exhibitions he has participated in are the II Salón de Arte (Centro Plaza, Caracas, 1974), "Joven plástica venezolana" (Galería Inciba, Caracas, 1974), the II Salón Ernesto Avellán (Sala Mendoza, 1974) , "15 painters" (Galería de Arte Cubagua, Caracas, 1977) and the 1st Biennial of Graphic Arts (Rome, 1978). Roberto Guevara wrote about Kröhn: "It is a work focused on visual possibilities, but not limited to retinal limitations, like some of the North American artists of fifteen years ago, engaged in an optical art presented in very limited and superficial terms" ( Guevara, 1979). Of its work, the GAN owns the Kinecromía optical assembly (serigraphy on Plexiglas, 1966). http://vereda.ula.ve/wiki_artevenezolano/index.php/Kr%C3%B6hn,_Enrique

1978 Mercedes Pardo, National Prize of Plastic Arts. Exhibition of yours in the GAN. Personal exhibitions by Gego, María Zabala, Soto, Luisa Richter, Jorge Stever, Carlos Cruz Diez, Gabriel Marcos, Lía Bermúdez, Humberto Jaimes Sánchez, William Stone, Valerie Brathwaite, Enrique Krohn, Pedro Briceño, Manuel Mérida and Narváez.

Luisa Richter and Edgar Guinand exhibit for Venezuela at the Venice Biennale.

Roberto Guevara publishes Art for a new scale.

Milton Becerra performs Piedra Arada, as an art experience in nature.

Retrospective exhibition of Augusto Herbin at the Museum of Contemporary Art from Caracas. Exhibition by Arnaldo Pomodoro in the Galería Arte Contacto.

Exhibition in the MBA of Alicia Penalba, Argentine sculptor based in Paris. The Colombian sculptor Eduardo Ramírez Villamizar exposes in the MBA. (Reference book 50 years of Abstractionism in Venezuela)

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Plastic artist. He studied at the Cristóbal Rojas School (1960-1964). During that period he participated in group events such as the II Salón Círculo Pez Dorado (Sala Mendoza, 1963), the IX Salón D'Empaire (1963), the XVI Salón de Jóvenes Pintores (Gallery G, Caracas, 1964), the III Salón Círculo Pez Dorado (Athenaeum of Caracas, 1965) and "American Painting" (University Station, Austin, Texas, United States, 1965). In 1966 he settled in Paris, worked in the workshop of Carlos Cruz-Diez and began to develop optical and kinetic structures called Kinecromías, three-dimensional plastic works in the form of settings in which colors were rhythmically transformed according to the angle of observation.

That year he participated in two group exhibitions in Paris, "Pintura latinoamericana" (Casa de América Latina) and "Six recherches" (Galería Denise David). From this time is his work SPATIAL COLOR MODULATION, degraded lines that produced modular relationships of colors in real physical space. Kröhn's artistic creation is essentially characterized by the chromatic variation that occurs as a result of the spatial modulation of the pigments, depending on the point of view of the viewer. In 1968 he returned to Venezuela and participated in different collectives, such as the XIX National Art Salon (MBA) and "Venezuelan Painting in Paris" (Andrés Eloy Blanco House of Culture, Maracaibo). Between 1968 and 1970 he resides in Paris and continues to develop his Kinecromías. In 1969 it is included in the collective "Kinetic art and its origins" (Athenaeum of Caracas). Towards 1970 it creates its first Transcromías, structures in plastic formed by systems of spatial superposition with semitransparent colors. The author pointed out that the intention of his work was "to create through our visual system, which represents an alteration of the relative components of the work (color-shape) .It is a decomposition-composition that will be reconstructed and created in accordance to our physiological configuration and the related environmental context "(cited in Salazar, 1990). In 1971, he visited the United States, came into contact with the cultural movements of the time and worked as

B.1944

Enrique Krohn VENEZUELA

PINTURA VENEZOLANA DE LOS SIGLOS XIX Y XX / JUAN CALZADILLA .

CARACAS: INVERSIONES M. BARQUÍN, 1975 . 159 P.

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Premio Ernesto Avellán: Freddy Benavides, Rolando Dorrego, Héctor Fuenmayor, Felipe Herrera, Enrique Krohn, Roberto Obregón, Julio Pacheco, Angel Peña, Freddy Pereira, Miguel von Dangel, María Zabala Sala de Exposiciones, Mendoza, 1974 - 28 páginas

Fundación

Eugenio

https://books.google.co.ve/books/about/II_i_e_Segundo_Premio_Ernesto_Avell%C3%A1n.html?id=_PZeAAAAMAAJ&redir_esc=y

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