Laste 1970 - 1988

Curator: Here we have Victor Vasarely’s “Laste,” an acrylic on canvas created sometime between 1970 and 1988. What's your initial impression? Editor: It's definitely disorienting. The colours feel almost retro-futuristic, and the way he’s constructed these cubes tricks my eyes; I keep expecting to see a depth that isn’t really there. Curator: Exactly. Vasarely was a key figure in the Op Art movement, which aimed to exploit the relationship between human perception and the painted surface. "Laste" perfectly demonstrates this. These tessellating cubes create a powerful optical illusion, meant to challenge our understanding of space and form. Editor: And it’s not just visual trickery; there's a commentary on how we perceive reality itself. By playing with geometric abstraction and depth, Vasarely encourages us to question what we see. I’m wondering if his work engaged with contemporary ideas around social construction and destabilizing set forms of identity. Curator: Well, Op Art was definitely a reaction to the dominance of Abstract Expressionism and a move towards a more democratic art form, one that could be understood and appreciated by a wider audience, breaking from the constraints imposed by art institutions of the time. Vasarely was interested in art that resonated with technological advancements, moving art into the sphere of the industrial and the reproducible. Editor: It's almost utopian, isn’t it? This idea that art could be accessible, democratic... but did it truly democratize? Or did it simply create another form of visual language only understandable within the context of artistic trends of the late twentieth century? Curator: That's a crucial question. And what about the socio-political context? Was this emphasis on pure form a distraction from pressing issues, a retreat into abstraction during a time of social upheaval? It's hard to ignore that aspect when looking at art made in that period. Editor: Agreed. I appreciate that Vasarely pushed boundaries. This piece challenges my perception and understanding of space. And makes me ponder the illusion of perfect social orders. Curator: “Laste,” in the end, presents a fascinating case study for analyzing not just artistic trends, but also the role of art within broader societal structures.