Victor Vasarely and Ellie & Vega System

Palma, June 22, 2018
A post written by Acham Hellman, the editor of MI KITSCH KITCHEN

Dear reader,
Last week I visited Victor Vasarely in the Thyssen-Bornemizsa Museum.
Have you read Contact, a Carl Sagan’s novel? Do not? So, surely you’ve watched the movie played by Judy Foster, I mean the movie where “Elli Arroway”, a supernerd astrophysics that works for the SETI in a superhot desert in the middle of nowhere where signals are constantly being sent to space in an attempt to communicate with the Martians, captured a signal from the space composed of a series of prime numbers making all the alarms jump because they evidence the existence of extraterrestrial intelligence (buddy, do not ask me why the prime numbers are the key instead of the natural, rational or negative numbers, this matter escapes my understanding). You´ll see, that signal hid a load of prime numbers that contained instructions to build a supercomplexmachine.

I summarize the spoiler: after an hour and a quarter of a movie, more or less, and built the supercomplexmachine, Ellie was transported through several wormholes (well, she thought they were wormholes but, maybe, they were only rabbit holes) to a point in the center of the Milky Way, specifically to the constellation of Lyra, in the middle of the Vega system, where she got to meet with a supercool aliens which adopted the form of a loved one to transmit her a superzen message:

“Buddy, be quiet, you are not alone”.


Well, from that moment the story got very complicated because when she returned to earth and told her story, no one believed her (it is logical, the trip had hardly lasted twenty minutes of Earth time and Elli also did not have recorded evidence of his conversation with the supercool aliens). At the end, Elli was accused of fraud.

–Mate, I do not understand anything. What does Carl Sagan have to do with Victor Vasarely? – asks the tortured writer, looking surprised.
–Buddy, it’s superclean! Vasarely uses geometry in his paintings,–says José Luis, looking up from the MacBook Air– and the prime numbers …
–That artist did not paint a series entitled “Vega Structures”? – asks the exorcist, sitting on an orange stool.


From June 7 to September 9, 2018, the Thyssen Bornemisza Museum reviews all the contributions to the optical and kinetic art of Victor Vasarely, a Hungarian artist born in 1906 who was one of the main representatives of Op Art; his experiments with spatially ambiguous and optically dynamic structures burst onto the art scene of the 1960s with enormous force, giving rise to an ephemeral but extraordinarily popular trend.
The Thyssen Museum exhibition is organized in eight sections following a chronological order and preceded by a first space dedicated to the Vega Structures, one of its most emblematic series held at the height of his career whose name derives from the brightest star on summer nights of the northern hemisphere.

As Márton Orozs explains in the catalog of the exhibition, the first attempt to define Op Art was due, in 1967, to the historian Max Imdahl, for whom the art of Victor Vasarely is derived from Robert Delaunay’s Orfirsm, which attributed a meaning to color, from the Neoplasticism of Piet Mondrian, which was based on the two-dimensional structures and the Mechano-Faktura by Henryk Berlewi, which based its aesthetic principles on the schematism of serial production.

Buddy, Vasarely’s work is a supercurious experiment that applies science to art, a mixture of precision, technique and material handling. If you get close to The Thyssen-Bornemizsa Museum you can see a series of acrylic paintings and woodcuts that reflect the great interest of Vasarely in two subjects: physics and psychology, and verify that, like Andy Warhol, he was a staunch defender of the democratization of art and the creation of serial works (although we must thank him, unlike Warhol, always demanded a strictly quality standards).
Op Art achieved an incredible popularity that few artistic movements have got throughout history. This experiment, contrary to Pop Art, brought together a series of cultural ingredients that made it an ideal mass phenomenon to become fashionable: geometry and psychedelia invaded the movies, fashion and the prospects of drugs against seasickness.

bi octans

P.S: We want to communicate to followers that we will soon post a CLOSED FOR VACATIONS sign.
The editor had decided to close the kitchen during July and August because he had heard saying to the Chinese of Chinese shop that this summer will be doing a lot of heat in Palma, and he prefers to visit his cousin in Monowi and eat hot dogs in Elsie Eiler’s tavern.
The CEO, however, thinks the editor’s decision is a big mistake, he had prepared a supercool escape to the caves of Drach to investigate a superstrange noises that two stalagmites emit to space every odd Tuesday. The tortured writer thinks that it is so unfair and it is not a way to treat a self-employed, in addition he is constantly asking to the editor: Acham, what is a stalagmite?. The exorcist is saying nothing, he is still in Rome organizing the secret archives of the Vatican and “la jefa” has not yet returned from the hairdressing…

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