Jesus Rafael Soto's Kinetic Art and the Pursuit of Real Movement
Jesus Rafael Soto began in the 1950s to explore new notions of creation, aligning with the concerns of Gabo and Pevsner, who in their 1920 Realist Manifesto called for an art of real movement. Soto sought not subjective impression but an event within the work itself through movement and transmutation. He replaced form and composition with element and structure. From his elusive volumes emerged the alternative of Vibration and its consequence, dematerialization. His works, such as Extensions, Progressions, and finally Pénétrables, were designed for broad public participation.
Key facts
- Jesus Rafael Soto started his search for new creation concepts in the 1950s.
- He was influenced by Gabo and Pevsner's Realist Manifesto of 1920.
- Soto aimed for real movement as an event within the artwork.
- He replaced form and composition with element and structure.
- His works introduced the concept of Vibration and dematerialization.
- Key series include Extensions, Progressions, and Pénétrables.
- Pénétrables were designed for broad public participation.
- Soto's art focuses on objective movement rather than subjective impression.
Entities
Artists
- Jesus Rafael Soto
- Gabo
- Pevsner
Sources
- artpress —