Kinetic art

The kinetic art and optics are current a artistic founded on the esthetics of the movement. It is mainly represented in Sculpture where one has recourse to variable components. But the kinetic art is also founded on the optical illusions, on the retinal vibration and the impossibility of our eye simultaneously to adapt the glance to two coloured surfaces , violently contrasted. In this last case of virtual cinetism, one speaks about COp Art.

One can see the first demonstrations of kinetic art as of the years 1910 in the futuristic movement and certain works of Marcel Duchamp. Later, Alexander Calder invents the mobile, formed sculpture of wire and metal parts which are put moving by the ambient air volume displacement. The expression kinetic art is adopted towards 1954 to indicate the works of art put moving by the Vent, the spectators and/or a mechanism motorized.

Contrasts white-black

In the years 1950, the first optical works are based on contrast between the white and the black. It is then either the persistence rétinenne, or the interpretation which makes the brain which will give rise to a Optical illusion or of movement in work. Victor Vasarely and Bridget Riley expresses best this beginning of the kinetic art. In 1955, Vasarely publishes the yellow Manifeste which theorizes optical and kinetic art.

Moirages

A moire effect of is obtained by interlacing initially black and white lines, then color. The superposition of the screens gives the effect of a work changing and moving to the spectator who moves whereas the layers of lines are motionless. Alberto Biasi, Dieter Roth, Jesús Rafael Soto, Youri Messen-Jaschin or Yvaral worked with such compositions.

The GRAV

Certain artists opto-kinetics met in a collective, the Group of Search for Visual Art (GRAV) with for goal to allow all to be able to approach their art (Horacio Garcia Rossi, Julio the Park, François Morellet, Francisco Sobrino, Joel Stein, Yvaral). This is why they privileged an accessible art directly by the spectator where this last can touch and handle works. Thus the proclamation of the GRAV contained on a leaflet distributed at the time of the 3rd biennial one of Paris in October 1963 was entitled Assez mystifications and contained the following lines:

“We want to interest the spectator, to leave it inhibitions, to relax it.

We want to make it take part.

We want to place it in a situation that it starts and that it transforms.

We want that it is directed towards an interaction with other spectators.

We want to develop at the spectator a strong capacity of perception and action. ”

Kinetic artists

See too

External bond

kineticus.com
Museum Kinetica (London)

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