Nicolas Schöffer (Schöffer Miklós) is a sculptor and plastics technician French of Hungarian origin . It was born with Kalocsa in Hungary, the September 6th 1912, and died in Paris, the January 8th 1992. It was one of the main actors of the Kinetic art, but especially of cybernetic art, called interactive art today, by carrying out the first works real-time of the history of Article.

After a Doctorate of right and courses of Painting to the Art schools of Budapest, it settles in 1936 with Paris, where it will remain until its death. He then attends the 3Ecole Nationale Sup3erieure of the fine arts and works in the workshop of Fernand Sabatté.

Its research

Before being an artist-engineer, he was a researcher curious about all new technologies.

In 1936, it starts to develop a pictorial art founded on repertories of elementary forms. It exposes to the Living room of Fall in 1937, and to the Living room of Independent in 1938.

In 1948, it invents the Spatiodynamisme, i.e., according to its definition, “the constructive and dynamic integration of space in plastic work. ”.

For him, the sculptor must use the techniques of his time: the sculptors mycéens carved the Albâtre with bronze scissors, and we owe Praxitèle and Phidias with the iron scissors allowing to carve in the Marbre. “ the scissors as such are neither significant nor eternal, and each time creates its own scissors. ” Also the sculptor of the 20th century must it use the electric and electronic techniques which are at its disposal to animate the sculpture. For him, the Cybernetic , essential component of its work, is “the awakening of the vital process which maintains in balance the whole of the phenomena. ”

In 1954, all that is theorized in a book, the spatiodynamism . In 1955, it carries out in Paris the first interactive multi-media sculpture in the world, equipped with a system of interaction real-time with sensors. This 50 height m sculpture, wired for sound by a real-time composition starting from magnetic bands of Pierre Henry will function all the summer 1955. This work is the greatest contribution of Schöffer to the history of art, with CYSP 1, the autonomous robotized sculpture of 1956. He invents the cybernetic Art thus which allows the establishment of a “ dialog between work and its public ”, between work and his environment. The result of its research on the interactive environments was the project of the Cybernetic Tower Light (1963) planned for the district of Defense, project which was abandoned after the death of president Pompidou whereas one built already the foundations.

Sculpture and spectacle

Its research, leads it at the end of the Fifties, towards the sculpture into which it integrates its work over space, the light and time. It introduces thus the concept of Lumino-dynamism with the series Lux (started in 1957), i.e. sculptures producing of the mobile luminous effects thanks to engines, reflectors and projectors. In 1968, it creates the Lumino , first work of art intended to be produced in an industrial way. Manufactured by Philips, Lumino posts coloured luminous effects very slowly being driven.

It takes part in many experimental spectacles, of which that carried out in 1956 with the ballets of Maurice Béjart around “CYSP1”, first autonomous cybernetic sculpture, installed on the roof of the radiant Cité of Le Corbusier with Marseilles, within the framework of the first Festival of avant-garde. In 1961, it creates a series of clips for French television, intended to better do to fall asleep the televiewers, making of him a pioneer of the Video art.

Lastly, its reflection leads to the chronodynamism, with the series of the Chronos , started in the Années 1970, of the programmed sculptures reacting to the passage of time, alternation day/night, etc In 1973, it conceives Kyldex1 with the Opéra of Hamburg, an interactive demonstration where the public is invited to take part in the evolutionary process of the spectacle. The same year, it realizes with the Control Renault SCAM1, the first sculpture-car.

Structure and town planning

Architecture and town planning will enable him to crystallize the whole of its research and to give birth as of 1955 the “ total work of art ”, the cybernetic city. Among his projects of utopian spaces, one can quote: a “recreational center sexual”, a high vertical university of 1  km, or a administraif center composed of three turns longilignes enclosed by two enormous buildings with the appearance of airships. In 1970, it presents its project of TLC ('' Cybernetic Tour Light ''), planned for the district of Defense (Paris), with Georges Pompidou. The project is not finally carried out fault of budget, and following the death of the president. This failure will remain to him always particularly painful.

In 1982, it is elected with the Académie of the Art schools. Three years later, a disease makes him lose use of its right-hand man. It continues all the same to create, exploring for example the feelings of surface with its left hand.

  • spring 2007: the workshop of Schöffer must be emptied under the real pressure and part of the collection is liberally accommodated in Belfort.

  • September 2007: the town of Paris repurchases finally the workshops of the Villa of Arts and the Mayor of Paris made there pose a plate in the honor of Schöffer.

Exposures

Bibliography (partial)

Theorist, Nicolas Schöffer published works on Art and town planning, in particular from the cybernetic point of view:
  • Nicolas Schöffer, the cybernetic city , Tchou, Paris, 1969

  • Nicolas Schöffer, the new artistic spirit , Denoël/Gonthier, 1970, collection Library mediations
  • Nicolas Schöffer, the Tower Cybernétique" Light; , Denoël/Gonthier, 1973, collection Library mediations
  • Nicolas Schöffer, the new charter of the city, Denoël/Gonthier, 1974, collection Library mediations
  • Nicolas Schöffer, Disturbance and chronocratie , Denoël/Gonthier, 1978, collection Library mediations

External bonds

  • complete Site devoted to the artist
  • Note on the life and work of Schöffer per François Stahly, Academy of the Art schools
  • a contemporary glance on the importance of Schöffer
  • Some documents on the first sensitive work of the history of art

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