Page 22 - Studio International - July 1965

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Photo: Hartmut Rekort

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To the Zero artists the Bill line was intellectual-visual
Photo: Hartmut Rekort other hand the Paris friends, Tinguely, Armand, Spoerri
research, cut off from the experience of nature. On the
and Yves Klein, with Restany as theorist. were starting
to talk Nouveau Realisme. This foreshadowed a division,
or at least a separation of activities. Piene and his friends
accepted a big-city-culture as contemporary reality. But
they felt more and more that Nouveau Realisme and Pop
Art did this superficially, taking over the objects of their
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Hermann Goepfert contemplation, not transforming them. This was to lead
Reflector relief 1 962 to Piene's definition of 'New Idealism' as a necessary
2 complement. Finally, 'nearly all the groups which in the
Hermann Goepfert early days sympathised with Zero and soon began to
Reflecto, relief 1963
act as rivals (like clubs of the same league) were
3 founded in 1960', as Piene writes. He reproaches them
Jean Tinguely
Sculpture today, either with geometric dogmatism (the Groupe
4 d'Art de Recherche Visue/ de Paris) political dogmatism
Gunther Uecker ('New Tendency', Zagreb) or the dogmatism of 'team
Field ,n movement 1964
Nail relief work' (grupo t and grupo n in Italy) as well as with a
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