The fascination with the found object, and the possibility of giving it new life through collage, has been one of the driving threads of Carmen Alvar's career. Since 2012, this attraction has been translated into research projects, the doctoral thesis Archeology of the found object and belonging to the La Recortada collective. The proposal presented in ArtNou is inspired by the Russian Vanguard and is structured around issues raised by some of the most important movements that converged on it. Emphasizes the work with neutral images, inspired by the concept "cine-ojo" of Vértov, which advocated the use of objective captures, and in suprematist aesthetics that, through simple geometric shapes and flat colors, ambitioned to express states of consciousness in pure state and free of emotion. On the other hand, the assembly of the 'paintings' recalls the constructivist sculptures made from pieces that, once fitted, include in the final result the spaces that the same elements close. It is interesting to note that the research on the techniques developed by different authors has allowed him to transfer some of them to her work. For example, thanks to the intersection of planes of different nature, she can create three-dimensional environments and collect the ambition of El Lissitzky to integrate the sculpture in the two-dimensional work; or to give dynamism to the whole by combining different scales and perspectives, as Gustav Klutsis and Valentina Kulagina did, or by introducing the vertiginous counterpoints of Alexander Rodchenko's photography. All these resources acquire meaning in the montage that, returning to the parallelism with Vértov's cinema, becomes the process that confers visual order and gives meaning to the elements and concepts extracted from life, in this case, from history.
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