Mathias Goeritz painter, sculptor and teacher. In 1953, he presented hіs “Manifiesto de la Arquitectura Emocional” (Emotional Architecture Manifesto). On moving to Mexico City in 1954, he entered a richly productive period. Goeritz was instrumental in establishing abstraction and other modern trends in Mexico.
Mathias Goeritz body of work and his artistic endeavor emerges from the assumption of art as a meta-artistic project that also extends to the social, political and public realms.
Formulated in 1954, Mathias Goeritz Emotional Architecture Manifesto became the dynamic core and theoretical and aesthetic basis of his work, appealing to the need to envisage spaces, works and objects that cause maximum emotion in modern man, as opposed to functionalism, aestheticism and individual authorship. Thus, the notions of collaboration, freedom of creation and the recovery of the social functions of design are acknowledged in every work cultivated and produced by Goeritz during these years.
‘El Pájaro Amarillo’, Jardines del Bosque, Guadalajara, Jalisco, México 1958.
Here with architect Luis Barragán.
Mathias Goeritz also worked productively in collaboration with a number of architects, especially Barragán, with whom he created a monumental sculpture, The Towers of Satélite, for the Ciudad Satélite in Mexico state in 1957.
“Las Torres Satélite (Satellite Towers) to me they are painting, they are sculpture, they are emotional architecture … To me, an absurd romantic man in a century without faith, They have been and are a plastic prayer.” – Mathias Goeritz.
“La Serpiente”, the snake, lengths 196 ft. (60 m) in Santa Catarina river Park. Monterrey, Mexico.
Reception hall of the Eduardo Prieto Lopez House with “The Angel” sculpture by Mathias Goeritz, The Gardens of Pedregal, Mexico City. Architect: Luis Barragan.