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Auf den folgenden Seiten finden Sie eine Auswahl von Künstlerinnen und Künstlern, die in der Ausstellung "Hommage an das Quadrat" vertreten sind.
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Martha Boto
Déplacements optiques rouges, 1967
perspex, mirror, motor
49 x 40 x 22 cm
© VG Bild-Kunst, Bonn 2009
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The work of the artist Martha Boto has received surprisingly little attention to date. And yet Boto, the wife of Gregorio Vardanega, has operated successfully since the 1960s in the artistic field around Kinetic Art and Op Art. She already exhibited her works in 1959 at the Paris Biennale, from 1961 on at regular intervals at Galerie Denise René, and from 1963 onward she exhibited with the international art movement “Nouvelles Tendances”. As with many other South American artists whose works are based on Concrete Art – Julio Le Parc, Luis Tomasello or Jésus Rafael Soto – the Argentinean artist found a home from home in Paris during the late 1950s. There she developed an œuvre which demonstrates the parameters of optico-kinetic art in quite exemplary fashion. One can read from her object boxes the trend towards releasing the work from its material constitution, of transcending the boundaries of the physical work and thus surmounting as it were one’s own weight and gravity.
Boto demonstrates this striving for immateriality in “Déplacements optiques rouges” by means of coloured Perspex rings that are attached to a transparent rod and seem to float freely in space, while their brilliant red appearance is reflected back in distorted fashion by the curved mirror surface behind. In this way not only is the distinction between object and reflection blurred. In keeping with the premises of Kinetic Art, this also brings about an impermanent work whose appearance depends on the angle of the light and the viewer’s standpoint. Boto has focused her attention ever since 1956 on the aesthetic of light. From the mid-1960s on she employed motors in order to intensify the kinetic effect created by the ever-changing effects of the light. Similarly in “Déplacements optiques rouges” the central rod is set in motion by a motor, so that the appearance of the colour elements constantly changes.
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With this fluorescent coloured Perspex, Boto has employed a material that generates an indescribable luminosity without any need of an electric light source. Like the artists of the GRAV group that was likewise active in Paris from 1960 onward, she availed herself of industrially manufactured materials for her art. This approach saw itself as not only a counter-position to the all-prevailing Tachism of that time. It was also a means by which the artists could communicate a new understanding of art that can be summed up by such catchwords as “contemporary”, “experimental” and “objective”. In this way Boto’s art brings us directly to the discourse surrounding a radical renewal of the concept of art. (Text: Susann Scholl)
Biography |
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1925
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born in Buenos Aires
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1956
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Founder member of the group Artistes Non Figuratifs Argentins
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1959
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Move to Paris; developed “chromocinétisme” (colour in motion)
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2004
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died in Paris
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