Page 45 - Studio International - February 1967

Left Works by Soto in the former Signals Gallery, London (Photo: Clay Perry)
Above Physichromie No. 260, 1966, by Cruz- Diez,
in plastic, wood and cellulose
Below left Acélération Optique, 1962, by Yvaral
Below right Transformation Instabile, 1962, plexiglass, by Sobrino

Above a detail of interesting, I admire her work for what she would prob- of mirrors, etc. Lygia Clark, on the other hand, is more
Liliane Lijn's ably consider the wrong reasons—that is, as static struc- concerned with structure and space, even though the
Liquid Reflections 1966,
28 in. diam., plexiglass tures which one can walk around and view from different structure is not static and the spatial relations are con-
angles.3 I should dearly like to be small enough to walk tinually changing. This is, perhaps, merely a matter of
Above centre a kinetic under them and inside them, and if ever anyone could be emphasis and one about which we cannot adjudicate but
sculpture by George Rickey,
exhibited at Documenta III, persuaded to realize her Architecture Fantastique (articu- only express preferences, as one might prefer Cezanne
Kassel, in 1964 lated architecture capable of taking on an almost limitless and Seurat to Turner and Monet. But I still feel that
number of shapes) the results would be magnificent. But purely on the level of spectator participation Lygia
Below right
Meta Malevitchs, it may be too early to judge this kind of work. We are not Clark's is the more solid achievement to date. Her objects
by Jean Tinguely, shown at yet accustomed to experiencing a sculptural work as it give more scope for active and creative participation.
the Galerie Denise René evolves in space and time, not merely before our eyes but With them the spectator doesn't merely set a process,
exhibition 'Le Mouvement'
in 1955 under our touch. however brilliant and amusing, in motion, but follows it
Lastly, a word about Lygia Clark in relation to the through and enters into it more deeply.
Groupe Recherche d'Art Visuel, who are also inter-
ested in spectator participation. The troupe's professed 'Quoted in 'The Significance of Lygia Clark' by Mario Pedrosa,
aim (as opposed to practice) is to produce visual stimula- Signals 1.7 (1965).
tion: 'We prefer to consider the artistic phenomenon as 2`The Writings of Lygia Clark' translated by Madalena Nicol,
Signals 1.7.
an exclusively visual experience on the level of physiology
3`Sun Watch' (1960) may be seen in its various phases as a sun-
rather than of emotion.' In accordance with this aim they dial, a whirling planet, a kind of astrolabe, etc. In each case it
not unnaturally concentrate on light, the distorting effect is beautiful as a static object.