An extraordinary conceptual object, this black Rosenthal porcelain plate carries the gold inscription der kunstler ist ein beamter des unbekannten, the artist is a civil servant of the unknown, curving around its rim above Mavignier's signature. At the centre a domed field of black-and-white speckled texture rises like a thicket of marks, transposing his concrete-art principles onto everyday porcelain. Witty, philosophical and rigorously composed, it collapses the boundary between fine art and functional object. Numbered from the 1979 edition, it is a rare and characterful multiple from a leading figure of international concrete art.
Almir Mavignier (Brazil, 1925–2018) was a pioneer of Op Art and Concrete Art, celebrated for his precise, geometric compositions. Using optical effects and vibrant colors, his works create dynamic visual experiences. Mavignier played a vital role in bridging Brazilian modernism with international art movements, influencing the development of abstract art worldwide.
PlateA plate is a broad, primarily flat vessel used for serving food, but it can also serve ceremonial or decorative purposes. Plates are typically circular, though they can be any shape and made from various water-resistant materials. Most plates have raised edges, either by curving upward or featuring a wider lip. Vessels without a raised edge or with a more rounded profile are often considered bowls or dishes, while very large, plate-shaped vessels might also be classified as dishes.
An extraordinary conceptual object, this black Rosenthal porcelain plate carries the gold inscription der kunstler ist ein beamter des unbekannten, the artist is a civil servant of the unknown, curving around its rim above Mavignier's signature. At the centre a domed field of black-and-white speckled texture rises like a thicket of marks, transposing his concrete-art principles onto everyday porcelain. Witty, philosophical and rigorously composed, it collapses the boundary between fine art and functional object. Numbered from the 1979 edition, it is a rare and characterful multiple from a leading figure of international concrete art.
Almir Mavignier (Brazil, 1925–2018) was a pioneer of Op Art and Concrete Art, celebrated for his precise, geometric compositions. Using optical effects and vibrant colors, his works create dynamic visual experiences. Mavignier played a vital role in bridging Brazilian modernism with international art movements, influencing the development of abstract art worldwide.
Born in Brazil, in 1925, Almir Mavignier studied in Germany at the Hochschule für Gestatlung in Ulm. Max Bense’s aesthetics of information and Josef Alber’s studies of colour proportionality have been major influences of Mavignier’s work. The works are mainly considered to be in the Op Art and Abstract genres. He has also worked as a commercial artist. He developed works such as Permutations by creating a pattern from a surface of geometrically ordered points. By using certain combinations of colour, the points form a surface which seems to vibrate. Mavignier has travelled and experienced much of the modern art scene. In 1951, after a solo exhibition in Sao Paulo, he moved to France, and lived in Paris. In 1952, Mavignier changed his location again, moving this time to Ulm in Germany. The year 1954 saw a stylistic development for Mavignier as he created his premier Point-Images. A further development of his style in 1955 saw Mavignier creating Grid-Images. Monochromatic images were first seen in Mavignier’s work in 1957 and in 1958 he co-founded and worked within Group 0, also called Zero Together. Almir Mavignier’s work was exhibited internationally through the 1950’s and 1960’s, with his works shown in the Venice Biennial, at Dokumeta 3 and 4 and at the MoMA in New York. Almir Mavignier has established his personal studio in Hamburg; he also teaches there at the Hochschule fur Bildende Kunst. (Artist website)
ZERO was an art movement founded by Otto Piene and Heinz Mack, aiming to develop into a large international and cross-border movement. The name ZERO originated from a magazine founded by Heinz Mack in 1957, which became a platform for the group's ideas. The magazine was published for several years before ceasing in 1967. The ZERO movement sought to create a new beginning in art, emphasizing light, space, and movement, and became influential in post-war European art.