Page 39 - Studio International - February 1967

Right, a composition
by Morellet,
below, Vasarely's Diamant,
and below right, one of
Vasarely's works exhibited
at Documenta Ill, Kassel,
in 1964

`Le flot s'écoule, mais la surface rest comme figée dans
ces lignes immuables.'
If the aesthetic of the Labyrinth suggests a common
determination to attack what Robbe-Grillet calls the
`romantic heart of things', it also indicates a kinship
between the two strands of Kinetic art which have been
under discussion. Martha Boto uses the title `Labyrinthe
au carré' for a Kinetic work which belongs to traditional
categories of presentation. When Stein of the G.R.A.V.
attacks the 'medieval' view that the work of art addresses
itself to the 'noble regions' of the human mind, he echoes
Vasarely's farewell to 'the art of the old world, the angel
and the devil'. In fact we may draw together the two
strands of 'Environmental' and 'environmental' art. Both
the planning of architectural projects and the construc-
tion of `Labyrinthes' can be seen as attempts to achieve
an unproblematic relationship between the work of art
and the outside world; to eliminate the anxiety which
hovers around the corners of the picture frame.
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