“kinetic art”

One hour with swiss kinetic artist Ralfonso

Since the early 20th century, kinetic artists have been exploring the possibilities of movement, introducing the element of time, the nature of vision, reflecting the importance of the machine… AMA has had an interview with Ralfonso who extend this artistic lineage and incorporate motion into his art.   What is your background? My educational background is very much on the business side. I studied Entrepreneurship at the University of Southern California, where I received my Bachelor’s Degree and then went onto an MBA from Wharton at University of Pennsylvania. So I have no formal art training, which might have been a blessing, as I was able to discover the magic of “art in motion” at my own pace and in my own way. How did you start to make kinetic art? My passion for this particular niche of sculptural art started very early. Even as a very young boy, I was always fascinated by mechanics and design. From this fascination, I started to design objects and sculptures that have a motion component, that then became art in motion, or kinetic art. I try to push the boundaries of kinetic art at the intersection of art, mechanics and design. Mostly I am inspired by nature, by the shape and natural interaction of all the elements. Therefore, my sculptures gently move with the wind, water, motors, or when pushed by hand, and range in size from 50cm to 15m.   What are the major difficulties of making kinetic art? Aside from all the aspects involved in designing a static sculpture, you add the dimension of movement to the art piece. This adds the 4th dimension of time and “change over time” to my designs. So now I have a much bigger tool box to work with, which include interactivity via internet, smartphone...

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Julio Le Parc, a tireless creator

The Brussels fair is paying homage to a founding member of the Groupe de Recherche d’Art Visuel (GRAV) by welcoming four of Julio Le Parc’s monumental works. An opportunity to look over the career of this indomitable artist.   Julio Le Parc had to wait a long time before institutions began to recognise him in the way that he deserves. Today, the Argentinian artist is finally being given his dues, now acknowledged as “a living legend” in the art world, as the Galerie Perrotin hastens to describe him. Having decided to represent him since November 2016, this gallery has kicked off its collaboration with the artist with a solo exhibition in its space in New York – a city where Julio Le Parc has not been shown since 1973. “It was time to rectify this error,” notes the Parisian gallery. Offering an interesting bridge towards the retrospective prepared by Pérez Art Museum in Miami (visible until 19 March 2017), the Perrotin exhibition presented both recent works and iconic pieces, already seen in major monographic shows such as the one at the Palais de Tokyo in 2013. It was the latter event that truly marked Julio Le Parc’s return to favour. The institution, having undergone a makeover, reopened with this retrospective organised by Jean de Loisy: 2,000 m2 devoted to the artist and gathering historic works including Continuel Mobile from 1963, today visible at BRAFA. Drawing 180,000 visitors, the Palais de Tokyo show met with success amongst critics and the general public alike. It followed up “Le Parc Lumière”, organised by the Daros Latinamerica Collection in Zurich in 2005, and the Centre Pompidou Metz exhibition in 2011-2012 titled “Erre”, a collective show which devoted an entire room to Julio Le Parc’s works… after 20 years in purgatory. Julio Le Parc...

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Norio Imai at Galerie Richard Paris

From 17 October until 28 November 2015, Galerie Richard Paris will be presenting “White Event”, the second part of Norio Imai’s first solo exhibition in France. Norio Imai was a member of the Gutai Art Association in 1965 when he was 19, one of the youngest members in the movement in post-war Japan. He is best known for his serene white sculptural works. This upcoming exhibition will feature 21 works from his Gutai period, which were created between 1963 and 1969. One of the works, White Event IV (1966) is Imai’s first work with kinetic movement and effects. White Event IV is a white vertical canvas on a mechanism moved by a motor that moves two metal bars in and out of two portions of the canvas, giving it a protuberant and regressing appearance.Also on show are eight rare works, which, made in 1964 and 1965, were destroyed and then recreated with three-dimensional objects, which sit between the white painted canvas and stretch out the canvas. During this time, white tacks kept the canvas flat on the stretcher, a clear distinction between that which is flat and that which is three-dimension. Drawings on paper, embossed and punched with holes were cut into irregular shapes. Born in Osaka in 1946, Norio Imai was a key player in the Gutai movement, and is prominently featured in collections at the Ashiya City Museum of Art and History, The Osaka Museum of Modern Art, and The Dallas Museum of...

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Moving image: interview with Espace Meyer Zafra at Art Paris Art Fair

Paris, 30 March 2014, Art Media Agency (AMA). It is hard to miss Espace Meyer Zafra’s stand at Art Paris Art Fair. A huge, red and white candy-striped installation rotates in several interlocking shapes, like a giant piece of machinery in Willy Wonka’s factory. Nearby, a circle filled with green pigment turns around and around, creating new forms every second, in a mesmerising manner. AMA met with Liliane Zafrani, who founded the gallery in 2000, in this colourful hive activity, to find out more. Can you introduce your gallery? Espace Meyer Zafra is a gallery which shows Kinetic art and Geometric Abstraction from the 1960s to today. We represent a group of artists who are very active in today’s market. What type of collector are you targeting with the works you’re showing at Art Paris Art Fair? Our collectors are young people – from around 28 to a maximum of 50 years old. These are very successful people who want to invest in art, and who love what we do. They have very refined taste. The red and white installation by Manuel Merida that you’re exhibiting could belong in a museum, simply due to their sheer size. Are you targeting museum buyers? That’s true, but surprisingly, the installation has attracted a lot of attention from interior designers, who work for collectors who have large spaces and who think they could live with this type of work. We are thrilled about this, because, although it’s great if the work goes to a museum, we want it to take on its own life outside of the museum. Have you sold pieces during the fair, or is your stand more geared towards attracting public attention? We have several people interested in this installation, and we have taken lots of orders. Is the...

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Kinetic art causes a stir at Art Paris: interview with Meyer Zafra gallery

Paris, 30 March 2014, Art Media Agency (AMA). As Art Paris Art Fair draws to a close, it is difficult not to mention the Meyer Zafra gallery with its unmissable candy-cane-striped walls. A large installation of shapes interspersed with one another, covered in red and white stripes, make reference to Willy Wonka’s factory. Directly alongside, another mysterious rotating artwork contains unidentifiable green powder. Art Media Agency met with Liliane Zafrani, founder of the gallery, to learn more about these eye-catching  installations. Could you introduce your gallery? The Meyer Zafra art space is a gallery presenting kinetic art and geometric abstraction. We exhibit works from the sixties to the present day and are pleased to exhibit a very active group of artists. What kind of collector are you targeting with your works? Most of our collectors are quite young, aged between 28 and 50 years old. They tend to be people who have been successful in their business and want to invest in art, with a high level of expectation. Primarily, they love what we do! Manual Merida’s installation seems to be designed for a museum… Yes, but surprisingly this installation has attracted a lot of attention from interior designers who work for collectors with large, available spaces. Some of these collectors have expressed interest in acquiring such an art work which is really exciting for us. If the work were to be exhibited in a museum we would of course be happy, but there is nothing more rewarding than seeing it in an “enlivened” space. Have you achieved many sales during the fair? Or is the stand’s principal aim to attract attention? We have several people interested in this installation but we also have some confirmed orders. A bit of both! What is the purpose of such kinetic artworks?...

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