Page 44 - Studio International - February 1967

A group ot leading kineticists: top lett, Agam, photographed by Gilles Ehrmann; and—photographed by
Clay Perry—centre, Asis; right, J. R. Soto (left) and Cruz-Diez; below left, Takis; centre, Sergio
de Camargo in front of one of his works; right, Le Parc in his studio.

artist has introduced into the object in arranging its mention of them. She sees the act by which the spectator
various parts. It is left to the spectator, however, to apply co-operates with the artist in producing a work as a
these principles in action, to explore the possibilities of moment of self-awareness. It is a moment of choice and
movement inherent in the structure. But it is not neces- decision in which he, and he alone, determines what is to
sary for the spectator to explore all the possibilities. The happen and is therefore totally responsible for what he
work does not reveal itself according to a determined and brings about. 'The moment of the act is the only living
fixed sequence of movements. To revert to the musical reality in ourselves.' At such moments a man realizes that
and dance analogy: Lygia Clark's objects are not like he has in his power to accept total responsibility for his
scores or programmes which have to be worked through; choices and hence is master of his destiny. Whether her
nor do they simply provide the opportunity for improvisa- slender works will bear such a weight of metaphysics, I
tion; they are more like a score by Boulez which the hesitate to say. It depends, I should imagine, on whether
performer is free to interpret within a certain range of one is prepared to accept these ideas in the first place. But
possibilities, where each performance is unique and need as an indication of how she regards her work, they can
never be repeated. hardly be ignored.
The spectator, therefore, not only co-operates actively What is more to the point is how far Lygia Clark suc-
in producing the work, but each work, each act of his, is ceeds in intensifying the faculties and immersing the
unique and unrepeatable. Lygia Clark has discussed the spectator in the work. How rewarding is the experience?
metaphysical implications of this at great length. Without I must confess that, while I find the feeling of the work
wishing to inflict on the reader the full complexity of her evolving under the touch and the exploration of the
ideas, this account would be incomplete without some possible positions the object can assume simulating and