Page 23 - Studio International - July 1965
P. 23

The  Story  of  Zero



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                                  Photo.  Ulrich  Degenhardt





                                  general  onesidedness.  ·our  work  tried  to  be  repre­  Baden. had from the start an epigonal character. There
                                  sentative  of  a  process  rather  than  a  pre-established   was  a  generally  cinetic  tendency.  Mack  had  begun
                                  principle' he says. The chef d'ecole had begun to speak.   making  Light  Dynamos.  Piene·s  Light  Machines were
                                   The  Zero  artists  were  put  in  an  international  setting   moving  towards  the  automatic  principle.  The  latter's
                                  once again at the Festival d'Art d'Avant-Garde in  Paris   Smoke  Paintings  of  1960  had  developed  into  Fire
                                  in November 1960. But Bewogen-Beweging in Amster­  Paintings  and  gouaches.  where  the  igniting  of  the
                                  dam  next  March  was  more  important  It  was  the  first   fixative  gives  final  form  or  else  destroys  the  work.
                                  great international exhibition of cinetic art and travelled   Finally  Zero  Ill.  the  third.  enlarged.  illustrated.  final
                                  on through  Scandinavia.  It was followed that  Summer   number  of  the publication.  was  published  in  Summer
                                  by  'New  Tendency·  in  Zagreb.  the  first  international   1961  and  celebrated  by  a  demonstration  outside
                                  abstract  show  in  the  Communist  world.  In  December   Schmela's  gallery.  Without  essays.  just  with  the  illus­
                                  1961 another first. an extended Zero show  at  Arnheim.   trations  and the  artists· notes.  it was  to have the slow
                                  with twenty-five participants.  Meanwhile the tendency   effect  of  a  time-bomb.  Nothing  did  more  to  fix  the
                                  had  broadened  out  to  some  extent  inside  Germany.   tendency in the international consciousness.
                                  Individual artists.  such  as  Hermann  Goepfert in  Frank­  In  January  1962  Museum  Schloss  Morsbroich  near
                                  fort. had been working independently but parallel since   Leverkusen showed  Lucio  Fontana.  Piene spoke at the
                                  1958. Others. like those around the Munich publication   opening  and himself had a  little exhibition on a  lower
                                  Nota derived directly from  Dusseldorf.  Still others.  like   floor.  One  of  the  visitors  was  Fontana·s  then  London
                                  those around  Klaus  Fischer and  Kunstwerk  in  Baden-  dealer.  Peter Tunnard.  His visit had considerable results.
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