470A  Relations of a Spider by Friedensreich Hundertwasser

470A Relations of a Spider 1971

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graphic-art, print

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graphic-art

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print

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form

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acrylic on canvas

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abstraction

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line

Copyright: NAMIDA AG, Glarus (displayed with the permission of Hundertwasser Non-Profit Foundation) The displayed work of art is protected under the copyright law. In particular, it is not permitted to reproduce, to alter, to print or to publish these works of art. Violations will be prosecuted according to civil and criminal law.

Curator: This mixed-media print by Friedensreich Hundertwasser, titled "470A Relations of a Spider," was created in 1971. I find myself intrigued by its unusual geometry and its bold color palette. What are your first impressions? Editor: There is something comforting yet unsettling about it. The colors are almost childlike in their vibrancy, but the rigid geometric structure layered within generates a sort of nervous energy. It feels intentionally disharmonious. Curator: Considering the period it was made, perhaps we can think of it as a reaction against established norms. The early 70s were a period of great social upheaval and experimentation. There’s almost a rebellion embedded in its form, wouldn't you say? An active disavowal of tradition? Editor: The recurring concentric circles definitely trigger some primordial archetypes. I think about the eye as a window to the soul. Maybe it's about a spider's-eye-view? About seeing from a specific perspective and all the cultural weight spiders have had as creators and deceivers in various myths. Curator: It could be an expression of Hundertwasser’s critique of industrial society; you know, the grid represents conformity and the destruction of the natural world. Editor: Yet the hand-drawn quality and irregularities of those lines disrupt any sense of perfect geometry. This suggests a vital, living force pushing against sterile systems. Curator: Exactly. I like how you describe it: “a living force”. This work becomes a kind of manifesto, positioning itself outside rigid structures of power. Editor: The more I consider it, the more the work reminds me how symbols act as complex signifiers, their meanings often culturally dependent and shifting across time. Even a single geometric shape. Curator: Absolutely. This piece provides ample ground for discussions of symbolism, history, and how we can see even non-objective art as profoundly political. Editor: It's certainly made me re-think my own perspective and any pre-conceived associations that spring to mind. Thank you.

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