Page 32 - Studio International - February 1967

Extreme left Schaffer Microtemps
Photo: Studio Yves Herrochon
Left a work by Asis
Below left Vardanega
Architecture electronique 1965
Bottom right Otto Piene White Ghosts,
blown translucent glass, electric lights, theostats and
timer-the 'Ghosts' light slowly in overlapping,
alternating sequence of white and coloured
lights synchronized with sound

large signs, projections, and even displays that bordered exhibition use artificial light in such a variety of ways, and
on the spectacle. Special mention should be made in this yet with such unifying effects, that in many cases the time
connexion of the endeavours of Wilfred, Palatnik, Mali- element is obliterated by the strong or subtle visual
na, Calos, Healey, Livinus and Sidenius — as far as the stimuli. Movement is relegated to a secondary role. As
`pictorial' trend is concerned; of Schöffer, Kosice, Piene Marshall McLuhan puts it: electricity is responsible for
and Mack in the field of 'light objects'; and of Munari a new simultaneity of continuity, as opposed to the dialec-
and Olson in the use of polarization effects. But pioneers tical progress deriving from mechanization. The artists
like Agam, Bury, Takis, Len Lye and Tinguely also used from the U.S.A., who formed the strongest contingent at
artificial light in their early contributions to the develop- this exhibition with sixteen individuals and the anony-
ment of Kinetic art. mous USCO group, wholeheartedly accept this new
Such is the acceleration of processes in present day art feature. Their work reviewed the entire scale of possibilities
that this development, which rested on genuine lines of in modern communication—ranging from the meaningful
research and on an exploitation of new aesthetic pheno- signs of Indiana to the metaphysically pure presentation
mena, soon became saturated with works and variations of fluorescent tubes in a given space by Dan Flavin. The
on works. It is now possible to make fascinating sub- USCO group attempted the wider task of arousing mystical
divisions within each branch of Kinetic art, and in par- experience within 'our new electronic environment'. The
ticular within the luminous trend. Two new perspectives next most numerous contingent—sixteen participants, of
are opened up in this connexion : the first towards a whom twelve belong to groups—came from Italy, and is
separation of the various elements which were combined distinguished by the tendency to use light as a means of
within the range of Kinetic art, the second towards a new activating the spectator in an environment which is
Environmental art which goes beyond the traditional created for him. Among the German participants, it was the
categories. The first division, into 'op' art, 'Kinetic sculp- metaphysical aspect of light which found expression. The
ture' and 'the art of light' (possible also the 'art of the room arranged by the Zero Group was a brilliant demon-
vanishing image' or spectator participation) is encour- stration of the co-ordination of widely differing works,
aged by the organization of exhibitions around a rela- achieved without any detriment to the transcendental
tively limited theme— The Responsive Eye at New York, aims of the authors. In the French contingent, Raysse, at
Kinetic Sculpture at Berkeley, California, and Kunst-Licht- one stylistic pole, tries to invest neon lighting with a medi-
Kunst at Eindhoven, Holland. tative and poetic quality, while Lassus at the other end of
The last exhibition, which took place in autumn 1966, the scale demonstrates the artist's concern with environ-
was the first comprehensive survey of works using light as mental applications. Lassus reverses the usual process,
their principal means of expression. At least 80 per cent of since he wishes to investigate the applicability before he
these incorporated real movement, but it should not begins the plastic research. The Groupe Recherche
therefore be concluded that the art of light has no sepa- d'Art Visuel, which includes a strong South American
rate existence of its own. The artists contributing to this element, could be criticized for having created a rather