Page 57 - Studio International - February 1965

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musician, he would have composed musique concret.
But the musician of hells has also-one must return to
it-the eye of a plastic artist. In the delicate montages of
his first appearances, one saw, whirling around in space,
hung up to those crinolines of iron-which others since
have not waited to imitate-the little forms of painted
sheet-iron, which will reassemble in the Relief polv­
chrome 1955, another landmark of the exhibition of
today: half moons, black spikes oscillating here and
there, plumes and spurts surging under the nose of the
spectator unexpectedly when he neglects to keep his
distance-all elements operationally useless to an opera­
tion itself without usefulness. And just the same in
MK Ill or Eos, creations of 1964, much more heavy and
much more massive. You will find, for example, set
aside from the principal mechanism and taking part in
nothing, a little wheel which contributes absolutely to
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