Kinesthesia: Latin American Kinetic Art, 1954–1969
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.
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; Patty and Arthur Newman/Newman’s Own Foundation;
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