Page 33 - Studio International - July/August 1967
P. 33

play of the suspended elements creates a difference be- psychological level the object as such which no longer
                                  tween them. Multiplication of these works on an industrial  bears the unique and precious imprint of the hand of its
                                  scale is a logical development. There is no need for the  creator, has been shorn of its value. When the work of art
                                  special skills of a virtuoso to reproduce a geometrical  is reduced to an effect of vibration or light, when its
                                  kinetic work, and one is entitled to wonder whether the  message is expressed fully through the superimposition of
                                  present concept of the market, based on unique items,  two sheets of Plexiglass or the trembling of a nail under
                                  will be able to maintain for much longer exorbitant  the action of a magnet, we may well think that the time
                                  prices for works which consist of nothing more than a  has come to organize production on a semi-industrial
                                  sphere suspended from a piece of elastic, a grid illuminated  basis and to help art escape the attentions of speculators.
                                  by a lamp, a bowl half filled with water or a rod moved by  Dematerialization of the work—an aesthetic concept — goes
                                  a small motor—especially as these works are almost al- hand in hand with the reduction in its economic value
                                  ways manufactured by the artist's assistants with perio- —which is a financial notion.
                                  dic supervision by their instigator. The new school of  Are we to conclude that 'multiplication' is a kind of
                                  kinetic art has killed the old fetichist concepts; on the   panacea? This is not the opinion of the members of the

          Le Rotozaza 1967

                                                                                    GRAV group who express their objections with a great
          Study of a machine                                                        deal of clarity in the catalogue to the recent Le Parc
          Le Rotozaza 1965                                                          exhibition in Paris. In their opinion if artists are content
          Drawing                                                                   merely to 'multiply' their products without changing in
          121x 141 in.                                                              any way the relationship between the spectator and the
          Galerie lolas, Paris
                                                                                    work of art, this will simply multiply at the same time the
                                                                                    contradictions of modern art. They therefore propose
                                                                                    multiplication not of works intended for individual con-
                                                                                    sumption, but of transportable units which will be sup-
                                                                                    plied to collective bodies—schools, barracks, blocks of flats
                                                                                    etc. —in order to enable each person to express his needs
                                                                                    without necessarily passing through the plane of indivi-
                                                                                    dual enjoyment. For the GRAV group, in the last resort
                                                                                    each individual must become an integral part of the work
                                                                                    of art, both on the active and passive planes; the spectacle
                                                                                    must be integrated with the spectator. The collective,
                                                                                    festive climate of primitive society must be recreated.  q
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