Piasa
Bid online
  • PIASA will continue to chart the history of ceramics on 12 April 2018, when nearly 80 unique works by Milan’s Guido De Zan will be offered during the sale of Italian Design. The pieces come from De Zan’s personal collection, and form the first part of the auction.

  • Paris, February 2018 – PIASA’s first auction of Scandinavian Design in 2018, on February 15, yielded a total of €2.1 million. This new sale devoted to the Nordic creativity, replete with big-name masterpieces, confirms PIASA as leaders on the Design market.

  • Viewing

     

    Wednesday 7 March from 10am to 6pm
    Thursday 8 March from 10am to 6pm
    Friday 9 March from 10am to 6pm
    Saturday 10 March 2018 from 11am to 6pm
    Monday 12 March 2018 from 10am to 6pm
    Tuesday 13 March 2018 from 10am to 6pm
    Wednesday 14 March 2018 from 10am to 6pm
    Thursday 15 March 2018 from 10am to 12pm

     

    -

     

    Alix De Saint-Hilaire
    T. +33 (0)1 45 44 12 71
    a.desainthilaire@piasa.fr

     

    -

     
    Clémence Paris
    +33 (0)1 45 44 43 53
    c.paris@piasa.fr


Kinetic Art - Light Show I november 25, 2015 5.30pm

PIASA’s sale of Modern Art on 25 November 2015  will feature around one hundred works linked to the sensorial research of artists like Yacoov Agam, VictorVasarely, Julio Le Parc, Gregorio Vardanega, François Morellet, Servulo Esmeraldo, Walter Leblanc and Alberto Biasi. 

Optico-Kinetic Art was an important 20th century movement and has, over the last decade, enjoyed a resurgence in interest thanks to such major international exhibitions as Force Fields: Phases of the Kinetic (MACBA, 2000); L’Œil Moteur (Strasbourg, 2005); Optic Nerve (Colombus, 2007); and DYNAMIK! Kubismus / Futurismus / Kinetismus (Vienna 2011, reprised in Paris in 2013).

60 years ago, Galerie Denise René helped promote Optico-Kinetic Art with the historic Mouvement exhibition, featuring works by Calder, Duchamp and young proponents of geometric abstraction like Vasarely, Soto and Agam.  It showed how integrating movement into a work of art (whether virtual or real) played on ambivalence of perception. In the exhibition brochure Le Manifeste Jaune, art critic Roger Bordier declared that ‘What we have here are transformable works of art. Whether we are talking about the mobility of the work itself, of optical movement or of the involvement of the viewer, the work of art has – through its own substance and its own nature – effectively become constantly and perhaps indefinitely re-creatable.’ 

Rather than creating optical games, these new types of creation aimed to break with the permanence and stability traditionally associated  with easelpainting, and challenge the traditional relationship between the viewer and a work of art. Their mode of fabrication, based on the use of industrial materials like Plexiglas, engines or light, corresponded to the spirit of the age – henceforth that of multidimensional space, speed and electricity.  As Umberto Ecco put it, new art had to adapt to the ‘perceptive dynamics which new technological and social conditions have provoked.’ 

3

Optico-Kinetic Art enjoyed a veritable upsurge in interest in the early 1960s, as reflected by the simultaneous birth of numerous artistic associations – Gruppo N (Alberto Biasi, Ennio Chiggio, Toni Costa, Edoardo Landi and Manfredo Massironi), founded in Padua in 1959; Gruppo T (Giovanni Anceschi, Davide Boriani, Gianni Colombo, Gabriele Devecchi, Grazia Varisco) in Milan; then, in 1961, the G.R.A.V. (Groupe de Recherche d’Art Visuel) in Paris, with Horacio Garcia Rossi, Julio Le Parc, François Morellet, Francisco Sobrino, Joël Stein and Yvaral; and Group Zero in Düsseldorf. These associations called for a collective and anonymous approach towards creativity, and shared a desire to stage events outside the official gallery and museum mainstream. 

Leading artists of the time – including Schöffer, Demarco, Boto, Vardanega, Leblanc, Takis, Esmeraldo – produced works implying an engagement that was now sensorial, global, physical, tactile, and no longer purely visual. Their paintings, reliefs, sculptures and installations generated new perceptive dynamics thanks to the use of processes of form (positive/negative contrasts, moiré effects, repetitive or permutational structures), colour (contrasts of colorées surfaces), optics ( persistence of vision) and light. 

By exceeding the traditional limits of art, and placing the viewer at the heart of creation, Optico-Kinetic artists engineered a veritable mutation of the work of art. They revisited our habitual relationship with time and space in line with aesthetic modalities that remain relevant to this day – as shown by the sound, light and chromatic worlds created by Olafur Eliasson, Ann Veronica Janssens or Philippe Decrauzat, to name but a few.

Domitille d’Orgeval, Head of Modern Art Department