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Kinesthesia: Latin American Kinetic Art, 1954–1969

August 26th, 2017 – January 15th, 2018
Palm Springs Art Museum, Annenberg Wing
 
This exhibition is the first in-depth examination of the pioneering roleplayed by South American artists in the international Kinetic Art movement of the 1950s and 1960sGrounded by scholarly research into experimental art movements of the late 1940s and early 1950s in Buenos Aires, Caracas, and Rio de Janeiro . . .

Gregorio Vardánega, Polychromie electronique I, 1965–70  Plexiglas, wood, light bulbs, and motor, 39 5/8 × 39 1/2 × 7 5/8 in. (100.6 × 100.2 × 19.5 cm)  Courtesy of Sicardi Gallery, Houston © 2017 Artist Rights Society (ARS), New York / ADAGP, Paris
Julio Le Parc, Continuel-lumière cylindre, 1962/2013 Painted wood, stainless steel, motor, metal disk, and light  Diameter: 157 1/2 x 35 1/2 in. (400 x 90 cm), box: 15 3/4 x 15 3/4 x 15 3/4 in. (40 x 40 x 40 cm) Collection: Famille Le Parc, Paris Photograph by Zicarelli © 2017 Artist Rights Society (ARS), New York / ADAGP, Paris
Installation view of the exhibition Cosmic Dialogues: Selections from the Latin American Art Collection, Museum of Fine Arts, Houston, May 14–August 23, 2015, featuring Gyula Kosice La ciudad hidroespacial, 1946–1972. Acrylic, paint, metal, and light, variable dimensions  The Museum of Fine Arts, Houston. Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, 2009.29.1-.26 © Estate of Gyula Kosice
Julio Le Parc, Cloison à lames réfléchissantes, 1966/2005 Steel, 91 x 109 x 31 1/2 in. (231.14 x 276.86 x 80 cm) Collection: Famille Le Parc, courtesy Galeria Nara Roesler Photograph by Zicarelli © 2017 Artists Rights Society (ARS), New York / ADAGP, Paris
Alejandro Otero, Coloritmo 41, 1959 Duco paint on wood, 78 3/4 × 23 1/4 × 1 1/4 in. (200 × 59.1 × 3 cm)  The Ella Fontanals-Cisneros Collection, Miami Photograph by Oriol Tarridas © The Alejandro Otero-Mercedes Pardo Foundation
Horacio García-Rossi, Structure à lumière instable no. 29, The Museum of Fine Arts, Houston. Gift of Benbow and Jean Bullock, 2004.1618, © Estate of García-Rossi
Martha Boto, Déplacements optico-hydrauliques, 1970, Collection of Gérard and Maria Rose Guilbert, Paris. Courtesy of Sicardi Gallery, Houston, © 2017 Artist Rights Society (ARS), New York / ADAGP, Paris, Photograph by Logan Sebastian Beck
Jesús Rafael Soto, Cuatro modulaciones, 1969, Paint on metal and wood, Collection of Palm Springs Art Museum. Gift of the Estate of Sigmund E. Edelstone, © 2017 Artist Rights Society (ARS), New York / ADAGP, Paris, Photograph by David Blank
Carlos Cruz-Diez, Chromosaturation, 1965/2010. Installation view from the exhibition Suprasensorial: Experiments in Light, Color, and Space, The Geffen Contemporary at The Museum of Contemporary Art, Los Angeles, December 12, 2010-February 27, 2011 Collection of The Museum of Contemporary Art, Los Angeles, and Hirshhorn Museum of Sulpture Garden, Washington D.C. © Carlos Cruz-Diez, 2017 Artists Rights Society (ARS), New York / ADAGP, Paris
Jesús Rafael Soto, Barres et rectangles jaunes et blancs, 1965, Acrylic on board with aluminum rods and nylon wire, Private collection. Courtesy of Sicardi Gallery, Houston, © 2017 Artist Rights Society (ARS), New York / ADAGP, Paris, Photograph by Peter Molick
Abraham Palatnik, Aparelho cinecromático, 1962  Wooden box with plastic cover, electric motor, colored light bulbs linked to a programmed  electric circuit and cardboard paddles, 38 1/8 × 28 3/4 × 7 1/2 in. (96.8 × 73 × 19.1 cm)  The Museum of Fine Arts, Houston. The Adolpho Leirner Collection of Brazilian Constructive Art, museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, 2007.21 © Abraham Palatnik

This exhibition is the first in-depth examination of the pioneering role played by South American artists in the international Kinetic Art movement of the 1950s and 1960s. Grounded by scholarly research into experimental art movements of the late 1940s and early 1950s in Buenos Aires, Caracas, and Rio de Janeiro, Kinesthesia begins its survey with the layered “vibrational” works created by Jesús Rafael Soto for the historic Le Mouvement exhibition at Galerie Denise René in Paris (1955) and goes on to explore more than fifty examples by nine artists. The works of internationally well-known figures, such as Carlos Cruz-Diez, Gyula Kosice, and Julio Le Parc, along with Martha Boto, Horacio García-Rossi, Alejandro Otero, Abraham Palatnik, and Gregorio Vardánega, will be a discovery for most viewers in the United States. Kinesthesia makes a compelling case that although Paris remains the indisputable capital of Kinetic Art, much of the Latin American work thought to be in that category did not come into being as a consequence of the movement, but often anticipated, and unfolded in tandem with, the better-known European developments.

Pacific Standard Time: LA/LA, is a far reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles. Supported by grants from the Getty Foundation, Pacific Standard Time: LA/LA takes place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California, from Los Angeles to Palm Springs, and from San Diego to Santa Barbara. Pacific Standard Time is an initiative of the Getty. The presenting sponsor is Bank of America.  buy tickets now

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Major support for this exhibition and publication is provided through grants from the Getty Foundation.

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Additional funding for Kinesthesia: Latin American Kinetic Art, 1954–1969 is provided by The Andy Warhol Foundation for the Visual Arts; Palm Springs Art Museum Contemporary Art Council; Erik E. and Edith H. Bergstrom Foundation; Yvonne and Steve Maloney; Patty and Arthur Newman/Newman’s Own Foundation; Atelier 4 - Fine Art Logistics.

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Exhibition Season Sponsors: Carol & Jim Egan, David Kaplan & Glenn Ostergaard, Dorothy C. Meyerman, Marion & Bob Rosenthal, and the Herman and Faye Sarkowsky Charitable Foundation. The Desert Sun is the exhibition media sponsor.

A full color illustrated catalogue published by Palm Springs Art Museum/DelMonico Books•Prestel accompanies this exhibition, it is available for purchase in Bradford W. Bates Vault: The Museum Design Store and the Museum Store, Palm Springs Art Museum.

 

Image caption: Abraham Palatnik, Aparelho cinecromático, 1962, wooden box with plastic cover, electric motor, colored light bulbs linked to a programmed electric circuit and cardboard paddles, The Museum of Fine Arts, Houston. The Adolpho Leirner Collection of Brazilian Constructive Art, museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund, 2007.21. © Abraham Palatnik