Page 39 - Studio International - July 1966

tion in Berkeley (1966), pointed out some of the mechani-
cal forerunners of kinetic sculpture. Viewed in its strictly
historical context, it appears that 'Bauhaus' mechanical
ballet and Tairoff's constructivist theatre (as seen by this
writer in the operetta Girofié-Girofla) were the immediate
forerunners of the present movement. They explored the
aesthetic possibilities of mechanical forces by expressive
actions of the human body. In 1920 Naum Gabo, mem-
ber of the Russian constructivist group, called one of his
works 'kinetic sculpture'. From here a direct line leads by
way of the Bauhaus to Moholy-Nagy's Vision in motion
(Chicago 1947). Depersonalized construction must ulti-
mately want to incorporate those forces which make
mechanical designs move. Calder's mobiles, on the other
hand, are moveables but lack the element of prescribed,
controlled motion or 'programmed chance' (George
Right
George Rickey Rickey). They belong to the realm of weather-vanes and
Five lines in parallel planes1965 kites and not to the present type of kinetic sculpture.
Stainless steel
Height 19 ft If one compares Dürer's or Leonardo's frequently
Collection: Morton D. May, cumbersome statements on artistic theory with those of
St Louis some of the kinetic sculptors, then one notices to what
degree language today provides the thinking artist with
Below
Davide Boriani finely chiselled tools to express what he wants to say.
Magnetic surface 1960-65 There is first the admission of the technical inadequacy
Aluminium, magnets,
iron dust, glass, electric motor of some of the amateur-engineers of form in motion.
Diameter 39 3/8 in. Depth 7 7/8 in. `Being first-generation kineticists, we must acquire a
Courtesy Howard Wise great amount of technical information that second- and
Gallery, New York
third-generation kineticists will find more readily avail-
able, such as basic understandings (sic) of electricity,
electronics, mechanics, and the use of new tools, materials,
and techniques.' (Fletcher Benton.)
Thus the creator of Yin and Yang, moveable aluminium
symbols, points out that kinetic art might be more than a
passing fashion, that, on the contrary, we shall have to
count on kinetic sculpture as a permanent feature. And if
this is correct, why not think now of its possibilities in
squares and streets of the future city? Wind, water, and
light could here be employed for the sake of the City
Beautiful.
George Rickey, one of the exhibitors at the show, in his
four-page introduction points in the direction of such
possibilities while discussing the interaction of chance and
control: 'Magnetism, hydraulics, aerodynamics, vibra-
tion, periodicity, refracted or reflected light' are some of
the phenomena employed by the kinetic sculptor—but
once they are put in action, they may be left to themselves
without the artist interfering.
This elimination of the artist's individuality is a pro-
gramme point of contemporary art ever since Malevich
declared war on 'romantic' self-expression. From here it
is only one step to the point stated by Mondrian : 'Art will
disappear to the degree that life itself is gaining in equili-
brium.' (Plastic Art and Pure Plastic Art, New York, 1947.)
Grand illusion of the platonic dreamer ! Life will not gain
in equilibrium— and therefore art will not disappear.
What about the meaning of `kinesis' (motion) ? If motion
is the medium of expressive matter, then change is the
condition of matter— including the spectator. There is an
objective side to motion, clearly formulated by Davide
Boriani, the creator of a magnetic glass disc with com-
posing and recomposing magnetized iron-filings of
infinite fascination and symbolic overtones :