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c Ca 3 p | re | yo hice. Kod. & 6A LLarte contemporanea ci aveva abituato rieo- Fascere. ue etegers.g) artist da. un isto {usll he vanno ala ricerea ch nuove forme sifidandos! ad un ideale quasi pitagorico at ar- ‘ona matematica,inventane” eenfigurazion| Sorrelte ‘da rapport! Segre e ‘per glungere Sis poesia passano straverso ta. geomet, uclitea 0 no: dal fate oppasto invace gl at "i! che ‘hgnno rleonossure Ta fecendifa del cate. e dal dsordine. non ignar! certamente ep ge eae vedere voi quella nwola che ha quasi Polonio: per la messs. assomgh ‘Amisto: fi pare che sssomigi Polonio: ha i! gorse come un eoanola, Amioto. 0" come une bale Polonio: proprio come’ una balena ‘ennai Lan contemportin nous avait habitués & re- connalre deux categories artistes: dun cts Sour gui recherehent de nowelles formes su ‘ant un deal presque pyihegorique @ harmo. nie mathematique, qul inventent es contigh- ‘ations regiee pat des rapports secrets tu Dour arrwer ala poesie. pabsent 8 avers ta eométre. euclcienne ou nen. du ‘cole op. Bose, loa etstes gut ont reconnw Ta feconde Gu hasard et du desordre. centes ‘consclents ‘de la remise en valeur "oe a part Gos a Seiplins”seiontiigues — dos ‘processus. oa. Sueis et statistiques ot qui ont aceapie toutes les suggestions provenant liber i do ls mae 11 comblait que cos deux attitudes ravalent aucun point"en commun. si co nest un luo! plausible atleurs hstoriquement: dane Chacon des cas on essayall denier la con forma di un cams Contemporary art is generally recognised by {wo etegores of artists on one. hand those who evole themselves tothe search for now Torms:‘fathul to an almoet Pythagorean ie sirimamemata? harmony Tey oaer to Schiowo Posty. pass tough “geomet. eu ean “or not "On the other Nand” those, who fave ‘ealized the richness of chance. and’ order certainly not unanare of the fo-evak tion “made by sclentiie lsciptines ct fandom procasees. ‘They nave accopted every Suggestion which comes Tresly tom tho ma: fori, squirting tubes of color onto clean ca sass cing, basing. brecina and runing Cloth wood and metals" mounting and hanging fragments of actual objects, which have Bean Broken and re-ombosieg In both cases an attempt was made to refute the’ idea that society aenieved about = beaut ella rvalutazione — fatta dalle sciptine Sciontitene det process! casuall @ statst- E10 che hanno aceettato ogni suggermonto he” brovenisse ‘Iiboramente dalla materia, Spriezando tubett gi coiore 90. tele. verain. Gelpendo, Iecerando, bucando. e-ustionands Stolle Tegal elatoname, Inquadrando ea. plocando brandalll i 099 Slustappost tontava dh negare la oncecione, pasion ‘© fequista, che una ‘societh si era {atta delle ‘Terme belie, ‘por proporte al’ modi a or inaro, alte. possibil confgurazion! cel 4a un lato scoprendo ta poetiita ai forme geo. Mmotrzzenti. dal'aivo scoprence To possibiita format deififorme, cereando quindl aid tna Yorma, una nueva forma. « quello che {aimente ern eonsiderato come disordine alo State pure, uina, pur patenda vie cos! diverse, maniac oer rar deli afaceranone persoguivan in fondo in stesso fine slarga avomo con” {emporaneo campo gel porcepialee Sel go- Sipe Queso ai'ay wor dog alta iife- tones gh scuoia'e corm a8 tor 0 Quel Givergte cat intonion per cul, come ® a te'natate, sm fondo | mat ela forma com Sa awinvano’ a imograre Te fit anarehict ella forma aissata 0 Sitraggista protestavano In fondo contre Tor dine costiuto che non potevano accatare. Ma {iene ‘una simie dleotgmia? 0. non” pittosta i'prim! in reata rvscivana. passando al qua ‘ofo atria alla forma sonetetissima’ della for. ‘hetla 0. del tulina, 4 rointegrare are ei foro tempo in’ un ‘contesio sociale, Iniiand omoctaticamonte chunave ot nuowt rndo"una protesta individualism, fon divenivano in ula analis gi ariati mo: ello vagheggiat! proprio da quella societh onto ‘eu! aparentamante rotestavans art Si tvoluziona @ angosciat, ma a. cas8 pro Brae senem rappore con gl at"? Sono problemi che, al al fuorl delle « scom- mmesse's indivcuall dovrann atlendere i Sore. vit! in. prospetiva,storiea. Mache da {rtrambi ats pereogusse sna iberazir el'vome. dalle abitudiniformallacquisito. ‘Questo 51 Una esigenza ai rttura degi sche: mi porcenii" ee le abitudin|percettive Incgraggiavano a godete una forma ogn aus! volla essa ei prosontasse "come quaitoea oi ompiuto 'e ‘conchiuso, ebbene, occorreva in Yentare forme che invece non lasclassero mai ‘iverse dase stesse. E cos mente gl infor mal elaboravano una = movimentazione del uadre sul piano bidimancianale della te ception, pacitique et acquise, qulune société Stat ate des «formes eles =. pout pro- poser de nouveau moyens. Ge former, au. ftes. possibles configurations au reel, décou- rant d'une part la posslo des formes inp fation géoméirique. do Tauro les” possibilt formelise de Tinforme, taenant ore de don: for'une forme "une nouvel Yormo, Ace. gui Dabiuslemant’ stat consigere comme abso Grea vat pur Crest ainsi que. tout en suivant des traces si diferentes, maiaaues du prosranme mathoma Plastique, ils poursulvatent au fond une meme fine agrandir ‘pour Iromme contemporain. le domaine Ju pereapibie et do /utiieable, Ceci fon dehors de. toute. aul cilerence dole Gu do courant: en detiors do cette divergence {es intentions pour lesquelies, comme Yona Femarque. tes mystiques. de la forme. aceon. lie et mosurée auraiont fini au fond par in fagrer les formes Ge. leur invention dans to Sant ‘du tableau absrat'& Ia forme plus que Concrete d'une fourchette ou dun miser™ are Valent on Yonite.areintagrer Tart ce. eur tomps dans’ un contexte socal on inant tout lo" monde, demacraiquement. @ rappréctation fe "nouveaux rapports entre forme. et. usage, nds que. les seconds, relvanchés. dans la Ctagatle ‘de Tour san chisorant une. prot Station purement inaiviguolle. ne. devenaien iis pas ‘inaloment cos. aftstes modelos quo Ia) fosiete meme. conte laquelle ile. prote Blaient aoparamment ‘chérssal. des, aftstes ‘évolutionnaires et angolsses. mals. seulement Chez eux et sans avoun rappon avec law” au tres? ‘Go sont des. probiemes quia part tes “pars inaiviguele, “dovrontattendreW'8tre lids dane une perspective historguo. Mais que tous, de ‘chaaue cole. alent recherche. une Mipgration de Thomme’ de ses habiudes for Moles aequises, coc! est vral. Une exigence 0 ruplura. des Schama ‘percepts. St les hapitudes pereeptives nous’ pousaalont & ap Drécier une forme touloe. les fois qu'elle so Présentait comme quelque chase. daccomplt 20d tn, tals alors invonter des formes {u) au_contralre ne laissent jamais Tatention hel do ia tole, en representant un enpace Une ‘alectique Ge signes ‘capable de guider Foeil*eans one inepecton toujours resouve. lable, les inventours de formes mathématiaves ‘lessayaient dans a vole de la" = mouvemnen: {ation tridimensionnelley en constulsant des, Structures immobies qui. vues. de. plusieurs Dorspectives. paralssalent munvables st char Seantes, ov meme des structures mobiles, inetiques ». "Cost ainsi que tandle que les premiers construsaient des oeuvres.“ uver= fost dane te sons quil disposent des = Con- ful forms », in order to propose other ways of Creating new possibiites of giving. form to fealty on one mand. aiscovering’ the poetic oasbiities ot goameirc forms. on the thar Siscovering the formal poselblives of than formal. thus tying to give a form. 2 new form tor"whal wae generaly considered. to. be Paisorder Thus, while following such different paths, the two streams of artists really pursued the same im to emaige the patterns of perception and oymant- Naturally. in ralaion to social {Wation, their position was diferent: tho = my ‘upholaing sel-contained and moasured form ‘actually inegrated the forme of tert ‘ention within an Industral socity wien was Scoepted without reservation: while te. anar nists who. wanted to. disintegrate form realy protested against an established order which {may could not accept But dose tuch ad {hotomy noid” or perhaps. the frst eetegory Bepassing trom the asract painting tothe ‘most eoncrete form of the fork or the beater. Integrates the at of their time within 3 soca Context and introduced now relationshipe be- {wean form and function ins Gemocratie, way Sana tha second category withdrawn and diega: infu produced inthe last "analysis the typeof artists yoamed for by the society which’ mney ‘were apparently protesting against? Those aro problems which, asice from inde dual challenges, should be left to an nitorcal [agement "But Wis indeed. tru that oth Sides Seek the liberation man trom acquired formal ‘habits. And consequery tho break: own cf percoptual scheme li percepts habits éncouraged one to. appreciate 45 something fed, thon ik we necessary 12 invet”"torme “wnion nove siloned ores ‘tention to rest; forma ‘always appearing aie ferent trom thomeaives, Thus, whe the infor mals) were elaborating a. way of obtaining motion = ofa two-dimensional plane. of Canvas, embodying '@ dalestc of signe capa. Bie of leasing) the eye to an everrenewed Inspection. th inventors ‘of mathernatical forms ying to find ways of three-cimension “motion =» constructing non-moving. sructurss which, seen from 8 certain perspective, locked Be mowng, or kinetic structures ‘while the former constructed works open inthe. sense. that thoy ‘isplaced ‘constellations of elements in’ many felauonshipe, the latter wore, creating works ‘which were not only = open = but dieatly = ia ording fo certain tired schemes” determined bya motor and’ then is reduced 10.2. me chanical pretext which ‘quekly ‘exhausts "te possibilities of improvisation) or moves. du fo natural forces, unpredictable by themoelves or “vaguely predictable. ion tothe Syname pessilitior of the object, wo asthe: {Ure determined by physical laws. And here contigurande uno spazio @ una ciaetica ot ‘Seqn' capaci di condurre Vecchio in una ispe- Zone sempre rinnovabll, gli inventor a for ime matematione tentavano le vie della» mo- ‘Yimentazione =" tridimensionale.” costruando “tutte Immobili che, visto da il prospetva, ‘pparivano mutevoll'e cangiant. aadrniture Stature mobil = cinetiche = Cosi mantra primi costruivano delle = aperte" nel senco che disponevano eostelar Zon! di lament! dai rapport mulipl, | secon {1 costuivano opere on’ sol0 = ape Sdintura sin movment = Ma un oggetto che si muove, © si muove in Bese’ ad leu sehem’ Hes! previ da un mo: tore (e-sllore st tduce a un presto. maces: Fico the eaauriace sub je sve possbiita 3 “limprowvsazione =), o st muoye sollectato 3a forse natural, improvedibil ct per se stesso. © Yagemente presumipill in rapporto alle pos Sills inamiehe ell oggeto im quanta strut lura ‘softomessa,a determinate logy) fsiche. ‘Anche qui di nusvo ia vecehia ‘ieotemia: 0 {a regola matomatica, 0 i caso. Ma & proprio vero, che regola matematica ¢ aso st exclucono? In effet si dana Inna {ura tencmeni che awengono a caso e di ul Tuttavia'@ prevedibite it decorso in base ro: (ole slaistone, the appunte murano con un Suticiente margine di cartozza matematica. 1) Sispors! git accadiment casual Quin nel: feVicende. del caso pu essere indvidva ‘posterior, une sorte programma, tanto che Ssisiona s'metoch per vincere alla roulette, Non sara dunque impossible. programmare, con ls Tineare purezza ai un programma mate: malice, campt gi accadiment» ne! qual Dos Sano verficarel del process casual Avromo Cost una singolare dialetica Wa caso © (amma. tra matomatica o azzardo, Wa conce. Zone planiicata 0 ibera accettazione di quel che awvera, comunque avvenga, dato che in fonde avverra purtutavia secondo. precise | nee formative predisposte, che non 'nogano la Spontaneita, ms le pongono degitargin © del- Ie dtezion possi Posslamo cosl paviare allora di arte program mala: © ammirae le sculture cinetcne one un ca, In ‘veeenie sampe.o dei capo contemperanet ripredott su tela se qualeu- tno ostervora che questa nan € piture, non @nemmono soultura. non cl sara da. preoceu. barsi. Gia sin dora si potrebbe Tanciare un Eenearso per trovare un nuovo nome ma per arta now lasciamoc! impressionare Ga Una ‘questione al nom © tntine un ultimo problema: non @ pita, fon ‘scultur, ma simeno 6 ie? Sad non Gi schiede qr se sms granae artes S0"sha eperastone del gonare oni gfss9 tmodo nella categoria. a Sempre" melo pencoloee talations « deléments aux repports multiples, les seconds constuisaient des oewres ‘non Seulement’ = owvertes = mals carrement “en Mais un objet, qui bouge. ou il se déplace Selon ‘des. schémas fines prévus par on mo four et ise recut alors & Un pretexte mécan- {ue gui spuige Immadiatement ses possibites {e - Imorousation =), ou #0 déplace parce. que Ect par dee forces naturelles imprévise Dies en ellessmémes. ou vaguemint probables Bar fabport aux possibile ‘cynamiques, 32 Fobjet en tant que stucture soumise. a cee lois physiques éterminees. Ick 8 nouveau la vibile:diehotomie” bu la regle methema ue ou fo hasara ta regle 3 We nasard Crexcluent? Iya 3rd: mats dont on peut ceper ant prévoir le cours grdce 8 dos rogies st fistiques gui. justerent. mesurent “avec. Une mmarge suffsano' ge certtude mathématique 1a Aisposition des evénement easusle, C'est inst fue dane es vicissitudes Gu hasard Ihaividver & posterior ur fie" ausel existe-tit des sfetomes pour gagn 3a Touleto.Il-ne sora gone pas impossiy F avoe Ta puree tin ooh ‘peuvent se verifier els. Cost sins! que nous Surone ine singullere dalectique. entre ‘eas St programmes. entre matnematique et hasard Sntra Conception planifiee et live. acceptaton 0 co. qul are, lant donn quisu fond arrive rien qui ne colt colon ‘de. préciaes lignes tormatives, prédisposées," qui ne. nient paint la spontanaite. mie qui ta eontionnent fr ul donnont ot directions possbles Nous powons alors parlor d'art programma: wimirer les sculptures einetiques que Thome 40 domain aura ches lu la place d-estampes cionnes ou de chete-d oeuvre contemporsing produits sur tlle Et si qvelquun observers Seco est as de eine, dete Sculpture! ne faudra pas son préaccuper ‘Bes maintenant on pourrait oust un concours Bur "wouver un "nom nowvea, mae surtout Fe nous llssons pss impreseionner par Une ‘Question Genome, = Un dernier probiemes se pose enfin: ce n'est pas do Ta poinure, ce nest pat do la eculp- ‘Ure, mais eetce. au moins te fan? Prense garde,"-ne sagt pas icl_de- savoir si cost 48s « grand act =. mai si une operation faire “part. grosso, modo. dela Eatogorio art En ‘eal il est Toujours fort Sangereux délaborer une’ défniton de. art fet voir ensue ce dul peut ¥ etre compris ou as. Une personne’ avisée fait une “analyse Ristorique & socrologique de ce Guune épo- ‘Que. ou une. cilisatlon seterminée, entendalt Par en. et ce nest quvapros quel. cherone tine delinition ui comprenne aussi te phéno- once again the old dichotomy. ‘matieal Tle, or chance. ther mathe: But is it roally true that_mathematical rule ‘exewdes chance?” In "etect. there ‘phenomena which haspen by chance behaviour Is prodietibie on the base of Siaistical rules, wnicn, ‘moanure. with & su the disposition of {he Vicisiudee St chance one can “a post Foti = istingush a kind of program, such a5 ‘hase which exist for winning at routete, Would IRPnet be" possibie therefore to {ish the linear puriy ‘of 4 mathematieal pro: Gram," fiolde of events » where random pr estes can happen? Thus we would: have Singuler“datectc. between ‘chanca and pro” Gram, between mathematics and accident Setaen planned conceptions and trae seep: tion"of what will occur anyway might coeur givon that” basically it "wil occur” directly {ellowing precise, pradiaposed ‘ormative pat tema, whieh do not negate spontaneity, bul inne "enlarge ie bourne and possible ‘Thus we can speak of = programmed » srt. and {amive. the ‘Kinetic soulptures that man of 2 coming future wil install in hie house, i lace’ ot the old “prints ot the. modern mas ferpieces Yoproduced. And someone ‘should ‘observe. that thie Is not painting, nor even Sculpiure, Mt shoulg’ bo of no. concer. ‘One ould then start ones! to lind a new name But fet us not be frightened bya question of Then thore ie one final problom: it isnot arming. i sot sculpture, but at last is ‘an? Mind you. one does tot ask thar it be Ste’ ants. Butoniy San operation at lina’ tenies somehow into the mons ot a Wie shvays very dangerous to establon do Ition ‘ofa and. ten see. afterwards, what Belongs to and’ what does not. The caulous Seon akan an hsloal and’ tocol Snaiyeis‘of wnat certain eviiatin or epoch ones a art and te n Ment one could say = within the limits of The 20th century a formative practice was afirmed inion gave’ frat place to mobile objects, ae ording to a\gilectic of planning and easua ity which the public, or @ part ot formal nature, for imaginative satisfaction fons =. One” ought to"'adathat within ho limits"of thie elization ‘aesthetic. pleasure Was. nd longer "of at least "not always “MNaerived trom the vision of complete. and ‘completed objec. but rather tm the image ‘of organisms in the process of indetine. com: Pletion: and the qually cts work id. not Consist in being. an expression of slaw: who Se basis remained. immutable and intangible, Bur'in'a kind ot = propostional hncion = ae: nizione deltarte © poi vedere cosa vi rien) {cosa no. La porsana assennata fa una anal Si'storica’«-gocvologiea su cosa una oeterm: hata epoca 9 civita intencs por arte, quind| Dpassa’a cercare una delinisione che compre a anche il fenomeno.scoperto. Pertanto. 5) ‘dove dire, per ora” =nelfambito dalla Cvita Secidontalo Gel XX socolo eI 8 andate ator mando una pratica formativa capace a port {apa ad oagetti modill = secondo uns dal. tical programmarione e cssualta = he!) Publica e perte det pubbiica." consumava fbitualmante’ come arte, usancol clos come Stimolo eonerate. per conciderazion! et orgine ermal, compiacimentiimmaginatst © —sp08 50" lesson gt ordine eonosetivo. Seane Penanto che nelfambito. ci questa. cuila iacoro esttice non era pli vo. lmono. non Sempre“ procurate dalla consideraziona erganismi complet! © completa, ma dalla vi Stone a'organtem in ia ch eomplotament In- Gotinta: e tn qualita di un opera non onsite ‘a nollessare espreasione ai una logge in ba Se alla quale essa rimanova Immutable @ In {angibile, ma di-una sorta. d= funzione pro. osiionale = in base alla quale onea entava ontinuamente ravventura dolla. mutevolezea, Sia pure secondo determinate line ‘orien: 1 entico futuro cha elaborerd tale detinizione <0 in base ad esta procedera a ricimensio- fare Ia neztone 3 forma @ ohare in Uso. no, Sor tompi non st stupia alata a tito io. git pensera che ben a ragione gl uomin! de ventesimo secolo waevano piacere d fe. non pial una forma, ma ompresant| @ simuitanae, perc ‘quosto ta. {fo non signiticava feta ina depraverione ei (usta, ma Ta sug adeguazione a tutta una di amica” percettwa che To" nuove” condlzion| tecnolagiche @ social avovano promowso, ‘quorlies tra una madre e sue Tiglo, 1a pr ‘ma ‘sosterendo che non capiva. come fo2se Dessibie loggere e sentire contemporaneamen. fagio. i secondo trovando natura Ficordora, i! nostio entice, come ome det ‘Seco pil anteh! fosse sempre preoeeupst ‘Camminando. a Quardare dove si metiona | ‘per imore’ dh Inciampare, w quindl a ‘atenzione avant, 236 — save af Teceanismi dell abitudine ~ perehe {36 no sarebbe caduto nella pozzanghera, come Talete intento s mediare cl astronomia: 6 he ordera ‘come invece Iautomobilista Gel seco. to ventesimo avesse imoarsto 8 porte atenzio- ne a duo ordini di forme in mavimente. quello, fel nastro stradale davantl a se © quello del (0 stradale dielo ¢1 sb, niflesso nel spec- public — consommait_hebitvellement com: fhe art, Cestavdire. on les_employant comme Stimulus “conerets” pour” des” considerations Serare tormel, pour Gos satisfactions. magi hatives et’ souvent pour des rellerions Falovant de Tepistnemologie. Co qui revient & Give. que dane le cadre do cote cvilsatlon Ie'plaisir esthetque n etait ploe procurs — ou Gu mains ii ne tai! pas toujours. par ta lon's'organiemes omplate ov comm ‘était done pas jugée on Tan qu'oxpression {Pune 1 selon laquelle elle estat immuabie mais en ‘tant que. sorte de oncticn proposttionnai ‘selon’ laquelle elle Pouvalt ingéiniment se transformer, tout en Enwant des directions détorminbes » Le critique futur qui élaborera cette détini tion "et eur cet base il adaptera ta notion {e'forme et dart de. son époque — ne s'en Stonnera en aucune fagon. Il penaera. ota bom grat ‘que Thomme au XX° Siecle towvalt ‘une forms. mais "ot cosnisiamtes: ‘Gyo cela nvinit en aucune facon un indiow de ‘ebravation du gout, mats de. son adaptation 2 Toute tne “dynamique perceptive que. let eave cenatone tsnroiogiune et soc Le sourte sur les levees, i sa souvlendra des frequentes, quoralos. de. cette dpoque. entre more at tis” Ia_promére.soutenant qu'elle Tartvait pas & comprendre Comment on pow Wait ire ot en meme temps écouter Ia rad, \Saeuxieme,trouvant la chose fort naturel pares que. désormals hablive & une gymnast {ue perceptive qu lui permettat do compren- dro ot a-apprécior paralolomont. deux Gost pouvataisemen equilrer. son attention {mais ta more, strangére 8 semblable.Savem Won, continua & Te soupconner de mauvalse foi) Notte ertique se sauuioncra de Thomme es, sidcles passes toujours prévccupé, Tors- {Quit marcha Go ~ rogarder Ou metal os leds’ st par consequent de fixer son ation. tion au evant de tu & moins. quil ne SWbandonnat su macaniemes "ae /nabiude Maree gue sinon i serait tombe sane une itague, tout comme Thalbs plonge dans sos méaitations. astronomiques. Tardis que Tauto- ‘mobiliste du’ XX" slacieavalt appris &. preter Sttontion & deux ordres Ge formes en mouve- ‘mont Ta route ee deroulant devant tot colle Fetleto dane ton retrovseur.derribre tat Sane ue sit avait aussi un. rétrovseur ure gauche. notre ‘mame tomps ia route s9 dérovlant derriare Wl Solon un "douridme. axe de perspoctva: on Coordonnant sins! trois efor. percepts tout fen goUtant le panorame, Telasticte. Gu moteur ‘Que son pled” sur la pedale Tul revelat st ‘momo en faisant tn eersin ealcul matnemat Que” on suivant. continuelioment de Tool to omptour de vitesse, sans jamais “~ au" gran inmate perde,complbioment de ue os cording to which it contioualy ‘gventure of mutabiiy, folowing detorminated Tings of onentation The future orile.who wil elaborate. such = 2 gotmtion —snd’on the basis oF which Wl Proceed to redimensionalize. the. notion "ot ‘orm ana ‘ot Set used in his time wil nat beat all surprised at ‘this. "He will find Broper thatthe men of the 20th century derived Pleasure from the sight. not of one form but Bt many forme comprosent and Simultaneous Sng" that ths fact cid not_al all signiy Gepravation of taste but its adequacy” 10 few “dynamics. of perception which the "ow {Schnolagical and social conditions allowee ‘This exit will romember with a smile. how Gommen were the = quorelles = in the homes of that "apock, betwaen the. mother and he! fon the former insisting that she did. no! Understand how it could be possibie to read Sand listen to the radio st the same time, and the. lattar “finding” this completly natura. because: by now he was educeted to a Kind ot perceplual_gymnastics which allowed him fo Understand “and appreciate side by side two = gestalt, fpalancing is. attention (but the motner. since the beginning a stranger {o°thia education, continued fo suspect him ot trickery anturios ‘were always so. worried fe “Took whore you pul your foot = afraid to Stumble. coneontating thoi attention on what was in front of them, except when clinging {o'tne mecnaniame of hsbit = otherwise tay ‘would fal into the ashes. ike Thales intent ‘on the stars. He will remember how the 2th Sentery ‘river instead, had Tearned "9 give fia attention ta two orders ot form in. motion {hat of the nibbon of road in front of him. an that in back of him. reflected in the rearview Imiror: and that. when there. was another ‘miror on the back eft of the car. the drive! as capable. of perceiving the road’ in bask ‘of him following’ a second perspective. sus, frus ‘covorainating” threo "perspective. Toreos land at the samo tine enjoying tho view and the hum of the motor respanding to towing a mathematical calutaion with an eye continually on the speadometer, without eve: iosing. view. complately of the: other ordars ot arm in motion Wil thie descendent of ure lament the lose ‘ot that eapacity that formar men had to cone: fentrate ons tingle object and to enjoy i ‘down to. ts most’ minute fibres, with an eve both” afectionate. and exclusive? This iss possibilty that cannot Be denied. What the Ente. should realize ie that art in tho. 20 Century was attempting te propose to man the Siston cf mora forms simuitaeneeusiy and Continuous becoming, because this was. the oneltion to which he wae submitted. 10 which ‘even more he submited his sensibility Chlotto: che, quando lo specchiettofosse stato resonta Sul lat sist enteriore. i Guidaiore earenbe. stato capace” a” percepire Contemporeneamanta il nasi stacste. poste: Fiore lungo un sacondo ase prospettice: coor Sinando Cosi tre efors! perestivl e ruscendo hel Contempo ‘ad’ apprezzare i panorama, {odore. dal elastics del motore » pata = at Traverso la planta‘del peda, a segue persino lun ‘certo calealo materatica con Trocenio. ot ontinuo spastato sul tachimetro Sica mal, perdere. completa Att oraini 8i forme im maviment Fimpiangera. questo nosto discendente, la ca- pacita che aveva Tomo antico 8h saperst fs Sure su una sole forma @ goderla in tut Una possiolta ene non viene fata cottrata, Quella che i cries iowa riconascore & che Fart, nel ventosimo Secolo’ doveva tentare ai propare all uomo Ta Wisione a pi forme sontemperanesmenta’ ‘ivoniro continuo. poreh® quecta ara Ia cond 4zione a 6 vena sottomessn. 2 cul sarenbe iste ancor pt sottomesca, Ir sua sensi Tramenti @ quante abe hanno visto Glenn nol go t'peche oa? Non were ‘che le forme omologate dalla Waci.one siano te'miglion perene nettona Ia stabilta eh ch natural. La eabilth ol -celo. slave. vale {come punta di ifrimento per ia sonsibiith d {in'Uomo ‘che sta term planeta ment planeta si'muove. Ma 'un uomo che muove eo! Pianeta @ In aiezione. opposta, a volocta Su Peviore? Tutte sue modo di penearo. dl per pire. far Tungionare | ites! cambierk. E Stott che maovono mast Solera, oil, au. porch tte) porapen luk iste, taal © Ertindr fo 'avranno soiuato a considerare che fo forms nan song Guicoss di imma he sia monte nol to ispezioniamo.* SI wole forse dire che queste sono costuzio- 1) didattiene per astronaut 9 fal di asronau- {lpn Amoriea era abaroato Colombo con cual. Che Uecine gi galeot, © gia tuto ll modo @) Bensare cell uomo occidental tava mutando. Per tut, anche per chi non avrebbe mat ab. Bandonaio il proprio villagglo. Magid pi che — i fate it monde i allargasse, gi Sst avevano gid da ferpo tontato fe ve dela doles prospetiva Non co bene come abbia fata. ma & sempre Stata Tarts. por prima. a: mositicare i nostrS modo dt peneare. ai vedere, di sentir, prima cor ‘volte cent anni prima, ches} rluseisea cepive che bisogno cera. Umberto co Notre descendant regretteratil la capacite de Thommea'autefois qui savait se. conewntrer ‘tur Une seule forme ot jour Ge sex nervures tes plus fines dun oeilalfectuoux et oxclus? NMais cote possbilte ne nous est point ou irate Nate ertique deve copendant recon fale que "art au XX" slocle doval proposer 2" Thomme la vision de. plusigurs formes s ‘eujeuts plus. Gambien ae levers et de cou there de 2oleil ont vu Titov et Glenn en quel {Ques heures? |I'nest point vral_quo Tos. for met omologuées” par ‘la "wadition “tont los mmelloures parce quelles rttetent le stabilte dos cyclos naturals. La stablite du cycle 20 fairest un point. da" ropere pour ‘Thomme Ui est immobile sur la planéte tandis que it en sens inverse, at 8 Une viloore re? Sa fagon do penser, de percevort Ge fare fonctionner ‘see refiexes” changers Tant mieux si les gbombtres des formes, les nifeateurs. des povores. defer, les arch os des spheres lurlaposees, os pootos dee moteurs electriques qui metiont on mou omen! des rubans ‘coloes, ‘hulls. surfaces eres, perspex, leur. plagues, iasveaux Shlindres. Tauront habstue "a conaidere ls formes” non "pas" ‘comme ‘quelque chose. qu Bttond_ déire‘vu, male Comme quelque, cnose fur s0 fall tandis" que nous Ie considerons, Voudraston di quil agit dappardis pour airaner les astronautes 8 leurs tis? Cnr Stophe Colom debarquait en Amérique avec te polgnde” de galotns, et dja Ts fagan {e"ponger ae Thomme occidental changeat Pout teu! fe monde meme, pout cau ul ‘urate jamais soandonne aur vilage naa {asis"avan! mame” gue. le monde ara st Iethomat laity nr psa org toms ess8ye a volo. dea doles. prospet tivae. On ne soit pes exactement comment. frais ce tut toujours Tart qui fe premier 3 ‘mocié. notre lagon’ de penser. "de volo Seni avant méme et parole avec un sige! Giavance. que Ton atrvat 8 compronder Po suo How many dawns and dusks did Titov and Gionn'sow ina tip of a few hours? itis not tue that forms approves 'y traction are the best ‘because’ they reflect the stably "ot Ratural cycles. The stability of the solar ays for is Valid as a. pint of relorence for ‘man who is-standstil'on the planet while he Plane! moves. But what of 3 man who moves Mike'tne planet in the opposite sivection at's faster speea? All'nis modes” of thinking of oroowving, of reflexive functioning. would Bhange. Andi would Be. much better If Goometrsts of form, the planners of iron dust {he "architects ‘of re-ambodied spheres the Iyneists of ite elec toye that mave eslores ‘bons, net surtaces, lights plate. glass, tas- Sele and cylinders, had accustomed him fo Consider that forms ‘are not something” iar ‘mobile that awaits too ‘hing = Becoming hi Is this to ¢ay perhaps that these are didactice Constructions tor aetronauts or eons of as ‘ronauts? “Columbus. disembarked im America With something lke ten galey slaves and the ways ‘of thioking. forthe western. man. was Changing. ‘Fer at we woul or abandon their vilages. But ore "world really got larger, the anate had Already tied the ways of = dolce prospetva = We don't really know how iis so, but it has Sivaya Boon are"whien has frat modified out ‘mode of thinking. of seeing. of Tecting. st Tong before, ‘sometimes 100 years Belore, one ‘could understand why. La pid grande libertt nasce dal pid grande rigor. Paul Valéry Forma dante plastica nella quale i! movimen- to lle forme, et color, det pian, 61 mex: 2 ber ottenere un isleme mutevole. Lo eo: Bo ‘deine cinetica non € guine! quello dl Stinare’ una composizione tisea 6 detinitva, Opera aperta Forma costiwita da una = costellazone - 3 fement in mado che Tosservatore. poses. in- Siviguarv con una = seelta interpretative ‘an eoltegament possibile quind! vare pos Sibiita ai eontiguraxion diverse: al ime. n= {ervonondo cl fate per modifieare la posiione ‘eciproca dagi element ‘Onere moltisicate Opere progetisie daltautors per essere pro date in var copie. usutryenso. delle. teen ‘che industrial. Non’ quind!riproduzione ap. ossimatva un Deez ice originale Aare programmata Lane pud essere programmata, a "una. programmazione "esata nasce una mmutituginé a forme smi Ast che si sono eccupatl di arte cinevca nel senso i arte programmata, opera aperta, opere malice 1814 » Giacomo Bala - plastico mobile 1820 - Marcel Duchamp - rotary glass plaques. 1921 - Johansen - gleichgowichtekonetruction. 1806 - Jose! Albers - 1008 - Franz Ehrlich - mechanischon schautonsterpastk 1990 - Moholy-Nagi - lichtroqusit 1982 - Alexander Calder - dancing torpedo shape. 1938-34 - Bruno Munari ~ macchina inutile. 2 1855 - Moholy-Nagi - space modulator 1998 - Vicior Vasarely ~ stusio ai movimento, 1841 - © Harlot Heiner - kinetic seuture, 1948 - Jean Tinguely = prime opere geometriche @ motor. 1949 - Mary Vieira - scultura mobile 1959 = Jacoov Agam - tableaux en mouvement ot tableaux transformables 1859 - Pol Bury - tableau en mouvement 1953 - Bruno Munari - proiexion| ditette © polarzea 1955 - Charles Eames ~ + do nothing = - machina s motore solare (Alco 1850-57 - Karl Gerstner - das tangentala Exzanteum, 1957 - Enzo Mari - opera a tfetti muti 1999 - Len Lye ~ tangible motion sculpture 1980 - Bruno Munari - strture continue. 1860 - ter Rot ~ opera trastormabile 1960 - A.J. Soto - opera a effete cinetice, 1960 - Gruppe T 2 Milano. 1960 - Gruppe Na. Padova 1980 - Groupe de recherche dart visuel. 2 Pargl xercise in transtormation on a plane. sono state prosentate 1952 - Galleria Annunciata, Milano, mostra de! MAC con opere in movimento, arte organica, ‘pete astormabil modular! i" spaZio 1955 - Galleria Denise René - Pargi, mostra «lo mowoment » 1850 - Galleria G. 58 Hessenhuis, Anverss, mosira « vision inmotion» 1089 - Parigi, prima mostra delle opere animate ¢ motipicate MAT 1960 - Galleria Pater, Milano, mostra Miriorama 1 1960 - Galleria Danese.Milano. opere animate © moltipicate, MAT. 1060 - Kunstgewernemusem, Zurigo, Kinatsche kunt. 1960 - The National Museum of Modern Art, Tokyo. proiszioni a luce polarizzata di Brune Murari con musica eletvonica “ch Toru: Takemisu 1961 - Stedeli Museum, Amsterdam. Bewogen Bowoging. 50.000 vistator 1961 - Galerija Suvremene Umjetnosti, Zagabria, mostra = nove tendencie 1961 = Moderna Museet, Stoccolma, Rérelee | Konsten, 70.000 visitaor 1961 - Louisiana Museum, Copenhagen, Gevaegelse | kunstes 5961 - Minami Gallery. Tokyo, mostra dei gruppo T. forme ai comurisarione visva ene Fintento. ‘dl ptomuovere a concsoenes” dalle Diu recenll geperienge svolte in questo cam: bo da grupp) di giovani artist in-opnl parte ei ‘mondo, la Diresione Publica lla So lett Clive @ lta a presentare questa mo- lorganizzata'da Bruno. Munatiealletita egos Olvelt a Milano. Naggio 1962" Mostra darte programmata Davige Borian ne ee = GEG ig iad Gruppo W Sopra una superficie quad 3, da un lato alata, gon una torsione, ino & ficoprire Mintera superficie, Nelle zone. do 5\"Ssmmano la forsion” intraved 10 spa hero sottstante, secondo iI punto. dl vista Ta forma’ di questo spazio nero ‘eambia, MOOR MOONE I XEXMXEXEKE) | > XpXeKe) Uf KEK KYEXKEXKE) KEK EME) \ x SON A TE RAD Ny ey oS Lie Fes ete @@06808@ Ce YESSY HH NS 3 SAN pest NNN ca SEINE 4 7 a a i, NN NIN * SY La cleitura «anne» aistingue un gruppo ot “‘isegnator! spermentalts che usuinieon® 4t-un metedo a indagine coliettvo e somme- ne perience raion o toricho ders Ee Alberto Biasi ne tBG? 8 Padova Ennio Chiggio ne 2 Nano Edoardo Lana ne ior's Modena anise Maciront nfgar's Padova Consideriamo ta reslt® come un continuo al ‘yeni sfanomeni= ene” nol ‘parcepiam hella varlasione. Da quando una reals intoca Im quect! termini ha preco il poste, nella co” Scienza del'uomo (0\solemente ila 248 in ‘Uisione) dt “una. raali fosa ‘ed. immutable, nol ravwisiamo nla arti una. teondenza. ad sprimore read nel suol Termin di Gi (da una dichiarazione del gruppo 7) Ginn: Ancesehi Davide Boriani Gianni Colombo Gabriele Deveechi Grania Variseo Oficina eAro Grafiea A. Lucini © ©. Milano _ eS