Workshop about Cubism(s) and Experiences in Modernity

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This week we visited the exhibition at MNCARS and afterwards we did a workshop. A complete challenge! Understanding Cubism is not easy.

carolina verd workshop cubismo

Cubism’s Game

As if it were a game: from my perspective, this is how a child can approach Cubism. The game had several steps: we first visited the work of the artists that we were going to use in our experiment. In the visit we created an open dialogue, of exchange and, also, of contagion of knowledge: everyone’s reflections enrich us, making us reflect. Dialogue allows us to express what we perceive with words and compare our opinions with others’. To talk about art and to interact this way is part of the search, it initiates a process of realizing, penetrating, and assimilating all the aspects –even emotional, subliminal, etc.– of expression, layouts, color, textures, movement, and composition.

Observations to Experiment with in the Workshop

In the exhibition we reached to several conclusions about what Cubism is searching: visual rupture, breaking lines, and dislocation of the visually recognizable in a more or less exaggerated way. This parameter of greater or lesser exaggeration served as support to visit the entire exhibition and to analyze the entire artwork. What attracted us the most were the paintings of windows in which they sometimes painted the outside view and some others the inside.

carolina verd workshop cubismo

At the Experimentation Table

As a second step, we took home what we reflected and what had moved us to capture it in our drawings, paintings, and photographs.

The workshop’s goal is to better understand Cubism. By experimenting with the breakage of figures and lines, you realize that Cubism, despite disintegrating what we see, requires balance and compositional sensitivity. This sensitivity is acquired in a learning process through trial and error. To break with the recognizable, we spend the entire afternoon decomposing objects and then gluing them in a support, cracking lines in our drawing and even doing collage with drawings we had previously done.


When we finished the experiment, we put them on the wall. We exhibited it all, including what we dislike. That’s how, in what we do, we show the learning process. By exhibiting your work, you can look at your starting point, the path you took towards what you were searching for and how you could find it. Afterwards, it’s important to talk: enunciate with words what you remember and what you recognize and identify in the search process.  By doing so you stimulate the evolution of your own expressive language. This is a way to narrate and intellectualize what you learned in the experimentation. I believe it’s important for those who guide the workshop to also exhibit their own work and become another participant at the working table. Experimentation is a leap of abandonment of one’s own positions, and it’s important that we all exhibit that risk capacity. The one who is supposed to know the most is not always going to be the one to find it easier to portray and express itself in the chosen means, but this is the person who should provide the example and the risk value.

I dare you to do this at home: go to the exhibition and make a workshop with what you have seen and with what has moved you; include art in your life. If you have family, art will bring you closer together and will help your children to develop a unique way of personal communication with the world. In a future, this will help them make their own way among society and contribute with something valuable. What do you say? Will you join the “Reart” movement?

Photography: Oscar Rivilla
Conceptual design: Carolina Verd
Fashion by Finally:
Blue-yellow-green two-piece dress with belt by Antonio García
Sandals by Stuart Weitzman

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