"L'ŒIL Moteur: Art Optique Et Cinetique, 1950-1975" 2005

"L'ŒIL Moteur: Art Optique Et Cinetique, 1950-1975" 2005[301] pp. Les Musees De Strasbourg200511 1 4" x 9 3 4" FineCatalogue of the exhibition L'oeil moteur Art optique et kintique, 1950 1975 presented at the Muse d'Art moderne et contemporain de Strasbourg, from 13 May to 25 September 2005. This title on optical and kinetic art aims to make a contribution to the historical and theoretical knowledge of this artistic current that emerged in the 50s with Victor Vasarely, Jess Rafael Soto, Nicolas Schffer or

[301] pp.

Les Musees De Strasbourg

2005

11 1/4" x 9 3/4"

Fine

Catalogue of the exhibition L'oeil moteur - Art optique et kintique, 1950-1975 presented at the Musée d'Art moderne et contemporain de Strasbourg, from 13 May to 25 September 2005.
This title on optical and kinetic art aims to make a contribution to the historical and theoretical knowledge of this artistic current that emerged in the 50s with Victor Vasarely, Jesús-Rafael Soto, Nicolas Schöffer or Yaacov Agam. The Museums of Strasbourg wish to pay tribute to artists who have been able to set up an original plastic vocabulary by proposing new modes of perception.
The book proposes a sensory itinerary articulated around four axes: The motor eye, The body-eye, The neuronal eye, The sound-eye.
The motor eye: the question of the speed of perception, dynamogeny and the kinetic training of the gaze, the optical beat, the respiratory diastole of the surface are addressed.
The eye-body: the questions of manipulation and constraint as well as the participation of the spectator by opening the work to the tactilo-kinesthetic space are the main themes of this second section.
The neural eye: the model of cybernetics and information theories, the artificial brain, the mechanical sensorium are the central themes of this section.
The eye-sound: the question of the extension-fusion of the gaze and the other senses in the spectacular aim of the total work of art is present in this chapter with the play of moving and synesthetic lights.
This articulation is neither chronological nor monographic.
Nor is it based on distinctions such as "virtual movement" and "real movement". It maintains a certain homogeneity between groups of works playing on retinal stimulation, sensory environments and lumino-kinetic works.
An essential work.