Page 22 - Studio International - April 1966

what similar atmosphere in the Weimar Republic. There- should be—I can only say that it is up to present and
after I never experienced it anywhere else, which is per- future generations to create them. But this also means
haps why I have always felt something of an alien, that the artists of the future must be universal, they must
wherever I have been, ever since. What I am concerned know the spirit of their time as Michelangelo and other
about, to be truthful, is the future. We regarded our art as Renaissance men knew their times.
an art both of the present and the future. But such an art It is a mistake to think that knowledge then was limited
needs a new society. by comparison with today. Take science—the gist of what
What we have done through these constructions is only a is general in science today is terribly simple, even more
beginning, of course. Several generations will have to live simple than in the Middle Ages. You don't need to be a
and work these things out. We cannot give these genera- mathematician or a physician to understand it, just as
tions any worth while manifestos. Artists have to learn to Leonardo didn't have to be a scientist to make his
be of their times. That is one of the reasons I am so against machines. The thing was, his spirit was universal. He
doctrine. I don't like it when people talk about 'Construc- knew the spirit of his time. Don't listen to those who tell
tivism'. I oppose it. It is the constructive idea I am after. you everything is all so complex. They don't know every-
And if it is made into an 'ism' it becomes a doctine. I thing. If you give me something in integral calculus to
don't want any doctrines; I can't give precepts. do I cannot do it—but I know what it's about. I know the
The arts of the future must be very different from those spirit of my time.
we have known. Paris and Bohemianism won't create The artist's spirit will survive if he acquires the capacity
them. The idea of the objet d'art has disappeared with for universalism. This means that the person behind the
the society that needed it. And the folk art which pre- work must disappear. It may be Jones or Smith who has
ceded it is also finished. Art, sculpture, must be on the done it, but that isn't important. I don't want people to
scale of the great epochs. To achieve this they must reflect see Gabo behind my work. I want them to see just the
great myths. work. What I am driving at is to make the work an image,
If you study the works of the great epochs, the works of so that the image itself should be distinct for the beholder,
Greece and Egypt, you see that they were bound together for whoever sees it. It should be so organic that you
by great myths. By that I don't mean myths like the forget the person responsible for it.
Minotaur and Theseus. As to what the myths of today If we look at Greek sculpture it is precisely copies that

Above
Square relief 1921
Plastic on metal
44x 44 in.
Collection: the Artist
Left
Linear construction in space
No.1 1942-3
Plastic
Height 24x 61 in.
Collection: the Artist