OP 11 1951

Editor: So, here we have Hans Hinterreiter's "OP 11" from 1951, painted with acrylic. The hard edges and the way the colours interact give me a sense of controlled chaos. What do you see in this piece? Curator: I see a vibrant dialogue between geometric abstraction and the emerging possibilities of colour-field painting. The hard-edged forms lock together, suggesting a rigid structure. However, look closer. Notice the use of color: the purples, the muted green and yellow. They hint at instability, maybe even a commentary on the socio-political landscape of the time. How do you think the historical context informs our understanding? Editor: That’s interesting. I hadn't considered it in terms of political commentary. I guess I saw it as a purely formal exploration. The shapes seem almost like fragments. Curator: Exactly. And fragments of what? What are these deconstructed geometries potentially hinting at? This piece came about during a period marked by rebuilding and redefining of societal norms in Europe. What role did abstraction play in that period? Was it pure formalism, or did it carry the burden of societal anxieties? Editor: I guess seeing the fragments and deconstruction differently now makes me see that the art could function as social commentary on the shattered structures of pre-war society, and how artists looked to explore these new themes by dismantling old structures. Curator: Precisely! By engaging with that potential for social critique, Hinterreiter transcends purely formal considerations and enters a space where art and social reality can converse. Editor: Thanks. Now I can see the artwork with more understanding and sensitivity to social undercurrents. Curator: Absolutely, and I believe we can continue finding interesting perspectives when analysing geometric pattern with an historicised view on a particular context and location!