Page 49 - Studio International - October 1970

becomes red, the red moving discs become The colours, light bulbs, and particularly the different structures of the circle displaced
immaterial and disappear, whilst the discs of taut wires give the impression of infinite symmetrically and asymmetrically to in-
other colours are intensified in tone. The space, and of tangibility, and therefore of finity, and investigating the synchrony of
programme continues as other colours appear some sort of control, however minimal, of colours and sounds (Sonorous light). In 1964
and suppress or intensify the corresponding this space. The use of every sort of material, I concentrated more on works exploiting
colours. Cf. Luminous-rhythmic Synchronization the application of as many aspects of scientific variations of forms and colours (Kinetic
1968, Relations of Chromatic Alternations 1968, knowledge as possible, whether physical or Sequences), or a single colour in its variations
Surprise Movements 1969. psychical, and the perception of continual (Chromatic galaxy), light and refraction (Re-
Moving elements (balls, rods) appear on the cosmic movement are radical for a trans- fracted rays in opposition; Electronic glowworms),
surface and move impulsively towards the formation of human needs. forms multiplied whilst at the same time being
exterior rim, and then disappear into the box, The transformation of humanity, or rather its enlarged on several screens (Alternating rays,
making way for other balls that appear and evolution, the rediscovery of the joy of Colours alternated in space); images that are
disappear in different places (vertically or existence, this is what I would like to achieve reduced, enlarged and multiplied by dis-
horizontally). These continual surprise with my kinetic works. placement (Structures with loops). I then moved
rhythms are realized with elements that can The representation of the drama of existence on to the towers, prototypes for human
be white, or chrome, or fluorescently coloured, can no longer give a positive impetus to the habitation: electronic flashes, white light,
with contrasting rhythms and varying speeds. evolution of humanity, or bring about a sonorous colours, luminous circular fugues,
Instantaneous alternants 1969 transformation. What man needs are pleas- and the labyrinths (Circular chromatic space;
A mirrored cube of five sides, with five turn- ant surroundings, the happiness of living in a Square spiralling space, etc.), realized to give an
ing discs, all in mirrored inox. At the edge of beautiful city that succeeds both visually and infinite perception of space. My most recent
each disc is placed a colourless ball, or tubes as habitation, only this can bring about a re- work, the Luminous orthogonal column (1970), is
of the same material. As these move they evaluation of human values. a development of the towers on a more com-
catch the luminous colours projected by a Natural movement and programmed move- plex scale, again envisaged as a habitable unit.
hidden mechanical system, alternatively ment: natural movement is of indisputable
lighting up or fading out. They are multiplied interest for the randomness and mystery we GARCIA ROSSI
to infinity by the mirrors. derive from it, but programmed movement is Movement occupies a place of primordial
Orbital displacements 1970 perhaps more important because the move- importance in my present researches. In my
Entirely transparent structure in Plexiglass, ments of the objects or structure are con- work I attempt a close collaboration between
with several turning axes, composed of large ditioned by a rational elaboration. They also the volume or form and the movement best
discs displaced horizontally from the centre, allow the active intervention of the spectator suited to them.
each with a chrome ball on its edge. This ball who thus becomes the active author of the For example the movement corresponding to
rotates in different directions and at different composition. This was the idea behind my a sphere would be rotation in all directions,
speeds, producing an orbital cosmic labyrinth. Electric Caress: at the base of a panel of little for a U-shape it would be a rocking move-
light bulbs is a 'piano' or keyboard, every ment, and for a cylinder rotation combined
Nearly all these examples of research have touch of which corresponds to one of the with displacement. The more complicated
been carried out as multiples. They are envis- light bulbs. As the keyboard is caressed, the the form or volume, the more complex the
aged as integrated into the urban landscape, corresponding bulbs are lit up. On the same movement. The realization of these studies has
or as elements of entertainment, with or with- panel the opposite cycle can be obtained, so thus to be done in successive stages, taking
out the participation of the spectator. Above that the illuminated bulbs can be extin- into account all contingent possibilities that
all my ambition is to help to improve the guished by caressing the corresponding touch. present themselves. Moreover, I feel that this
human aesthetic condition visually and psy- Dimension continues to be one of my main way of conceiving research, in my own or
chologically through invention, evasion and obsessions. At the moment it is impossible to anyone else's case, can lead to unexpected
reality. realize even one work. Each of my pieces is a results which corroborate the lines on which
reduced scale model, and so logically the one is working, or add new perspective to
VARDANEGA force of human penetration is diminished. I them. This means of proceeding could pos-
My interest in and observation of universal would like them to be city-high and habitable. sibly lead to the total destruction of so-called
space led me to use it as a material for aes- At the other extreme, when a work becomes a `artistic style', which is often merely synony-
thetic and educative ends. In fact my first multiple it re-acquires a part, but never the mous with repetition or mannerism.
luminous sculpture of 1950 was an attempt to total, of its lost potency (in the sense of force The inclusion of movement, time and non-
represent the universe, physically, psychically, of penetration) . traditional materials compels a conception of
and with a degree of hypnotism. The relevant point is perhaps not so much to the end product that prevents it being a
The insertion of man into the space that exists give back to people a sense of joy and dimen- tributary of 'artistic styles' close to it in
(and of which he has lost all concept of the sion that they have lost, as to offer it to them appearance. On the other hand, my use of
proportion) to release his most inhibited for the first time. By means of circles, balls, materials evolved for industry permits me to
feelings. Electric colours, transparent colours, squares, lights, spirals, columns, cosmic produce works in which the creative idea and
coloured space, the diffraction of light, sonorous principles, worlds in transparency, diffusions experimentation comes from the 'artist', but
light, projected light, diffused light, spectral of colour, luminous fugues, prismatic diffrac- their realization is carried out by technicians
decomposition, the transmission of light into tions; electric vortices, etc, etc. I seek not so and craftsmen qualified in the manipulation
solids, liquids and gases; all these are in- much to create something as to bring it to the of these materials. The result is the opposite of
exhaustible sources for a new aesthetic and notice of all those people who for one reason traditional art, in which the personality of the
education. or another have forgotten it, or perhaps have `artist' played a unique and irreplaceable
The aesthetic of movement and electronics, never known it. role in the execution of the work. One aspect of
the aesthetic of light and electric colour are In 1963 I started researches to capture colour contemporary research is based on the deper-
elements of a new formal education. My and light in spheres containing plastic sonalization of the realization of the work,
Electronic Universe of 1958 enabled the spectator planes pierced by spirals enclosing a flow of which permits limited or unlimited editions.
to intervene directly to change the atmos- colour in movement. At the same time I was Such developments give rise to hopes in the
phere by transforming the background colour. working on the problem of the mobile, using possibility of some sort of social function. q