Two mobile elements on a red metal structure
H 112 x 94 x 55 in, Edition of 3 ex + 1 AP
H 33 x 16.5 x 16.5 in, Edition of 7 ex + 2 AP
Francisco Sobrino (1932-2014) was an iconic representative of Kinetic art, particularly through his involvement with the Group for Research in Visual Art (G.R.A.V.), of which he was one of the founding members in Paris in 1960. As early as 1958, he developed a radical, systematic and minimalist modus operandi which took its inspiration as much from the historic avant-garde movements—Constructivism, Bauhaus, Dada, Neo-plasticism—as it did from the cognitive sciences—the psychology of form, information theory, phenomenology of perception, etc. His visual vocabulary therefore was reduced to the ‘good forms’, that is to say, to the simplest ones, those that are the most immediately accessible to the spectator’s perceptual grasp, limited to a handful of values, most often the primaries, and indeed, a single one at a time, leaning towards monochrome, and the appearance of the raw materials which he uses as a solid or unified whole, devoid of all traces of manual creation. Sobrino pursued this work up until 1968 along with his peers from the G.R.A.V. Movement—Julio Le Parc, Joël Stein, François Morellet, Horacio Garcia-Rossi and Yvaral—and sought to reject the passivity of the work of art and abstract composition, typical of both lyrical and informal movements, as well as concrete art—celebrated at the Salon des Réalités nouvelles (Salon of New Realities)—or the type of art practised by Auguste Herbin or Max Bill.
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Ouvrage publié à l'occasion de l'exposition Modus Operandi de Francisco Sobrino à la Galerie Mitterrand, Paris.
Graphisme : Alban Gervais