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Archive for the ‘dance’ Category

Rest and motion at Castleford Civic Centre

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Piet Mondrian suggested that humanity seeks rest within motion, or “repose through movement”[1] and he found an example of it in dance, referring possibly to the foxtrot, he said “each movement is immediately neutralized by a countermovement which signifies the search for equilibrium”[2].

Taking part in the ISTD dance medallist competition (ballroom, latin and sequence) at Castleford Civic Centre on 11 March, I thought that my own foxtrot seemed to have too much repose and not enough movement! Maybe I was feeling too relaxed after looking at the Henry Moore reclining figure on the way into the centre.

 

The reclining figure figures a lot in Henry Moore’s oeuvre, and he donated this one in 1980 to Castleford, the town where he was born, the Civic Centre having been officially opened a decade earlier on 24 March 1970.

 

The Civic Centre, a fine example of modernist architecture, designed by Derek Goad, is an optimistic looking building if ever I saw one, even now when it seems to reflect an optimism about the future that is a situated in the modernist period, when perhaps we believed more honestly in “a steady advance from the poor environment of the past to the more pleasant and brighter surroundings of the future”[3]. One of the features of the building is its facing in precast concrete panels manufactured from a limestone aggregate chosen for its weathering properties: “it has been found to get naturally lighter in colour with exposure to the atmosphere so counteracting the darkening process caused by the atmosphere itself”[4]. Apart from the darkening beneath the windows this hope, this countermovement does seem to have been realised.

 

I find it a hopeful place also by association, because of the activity (medallist competition dancing) for which I have been here a few times now. I go in filled with hope anyway! Sometimes I come out feeling even better than when I went in, other times less so. I first started to become interested in the building when I looked across the dancefloor/theatre and saw the wall sculpture, comissioned for the opening in 1970, silent, static, yet visually rhythmic (movement through repose perhaps). The dynamic rhythms of the dancefloor seem to be echoed in the sculptural forms.

The artist is Diana Dean, who was working with abstract geometric form in both painting and sculpture at the time, and the work, made in stainless steel, is entitled Symmetry in Opposition. I could wonder to what extent the title also echoes that idea of equilibrium found in the Mondrian quote above. Dean explained to me that at first the two projected squares were facing inwards with two corners touching, and then this changed to the outward projection which is why she called it Symmetry in Opposition.

Here are some photo’s of what it looked like in 1970.

 

I wonder if I also find Mondrian’s notion of the neutralisation of opposites in the contrast between the stasis of the final form Vs the activity of its making.

Dean moved to Canada in 1975, where she focused on painting and moved away from abstraction, the geometry hidden, as it were, within the structure, supporting the figuration. When I contacted her recently she replied saying “I felt it was quite synchronistic to receive your email this week as I had just begun a portrait painting with geometric patterning appearing in the carpet and all perspective lines in the room going to the left eye of the sitter. Maybe I am moving towards a new form of geometric abstraction again”[5].

A psychological reading might suggest that we are witnessing a “return of the repressed”.

(Thanks to Diana Dean and Derek Goad for supplying information and pictures for this blog post)


[1] Piet Mondrian. ‘Natural Reality and Abstract Reality: an essay in Trialogue Form’ (1919-1920) in Mondrian:

Natural Reality and Abstract Reality edited by Martin James (1995) p.27 quoted in Dancing with Mondrian by Annette Chauncy, in The International Journal of the Arts in Society vol 5, no.3

[2] Piet Mondrian. ‘The New Plastic in Painting’ (1917) in The New Life the New Art – Collected writings of Piet

Mondrian edited by Harry Holtzman & Martin James (1987). P.43, quoted in Dancing with Mondrian by Annette Chauncy, in The International Journal of the Arts in Society vol 5, no.3

[3] Opening ceremony brochure

[4] Opening ceremony brochure

[5] Personal email from the artist

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Mondrian and dance

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Broadway Boogie Woogie, by Piet Mondrian is a clear reference to music and dance. Mondrian was a keen ballroom dancer, and some of his works are named after dances, for example Fox-Trot B, and Fox-Trot-Lozenge-Composition-with-Three-Black-Lines.

I read in one place at least the implication that he was a good dancer, for example that he practised dance steps in his studio and was known as ‘The Dancing Madonna’ in Holland. Then in another place:

He went shopping for painter’s smocks with Naum Gabo’s wife Miriam and danced with Peggy Guggenheim and Virginia Pevsner in the London jazz clubs. His love of jazz and dancing was well known, but Miriam recalled that he “was a terrible dancer… Virginia hated it and I hated it, we had to take turns dancing with him”.

In an article entitled Dancing with Mondrian By Annette Chauncy, published by The International Journal of the Arts in Society, she suggests that the paintings were possibly inspired by the dances, especially the Foxtrot, the Quickstep and the Tango.

I also found this little film clip entitled Mondrian and Dance at the San Fransisco Museum of Modern Art, suggesting that the paintings ‘dance’ more than perhaps we thought.

Written by Andy Parkinson

January 17, 2012 at 8:45 am