Heinz Mack. Kinetics

The kinetically active sculptures and light pieces by Heinz Mack (born 1931), one of the three founding members of ZERO, testify to the group’s effort to replace traditional artistic mediums with immaterial light and movement, so as to create sculpture in space. In this way light-reflecting materials such as pressed aluminum foil, fluted glass or plexiglass in Mack’s early reliefs generate a new perceptual experience. Or a setting of mirroring ­aluminum planes enshrouds the environs, sensitizing us to a spatial experience. The motorized relief structures of his rotor-works increase yet again the number of rhythmic movements, while the prism-works with their color ­spectrum strive for a totality of light impressions. In the large-scale outdoor installations, such as the Sahara ­project, nature and art fuse to produce an endless illusion of space via a ­synthesis of natural and artificial light. While these are only viewable on film, the broad public can today see his kinetic sculptures of light, dynamism and movement in the public domain: on city squares or in office buildings. This publication on the occasion of Heinz Mack’s 80th birthday presents a comprehensive view of early and partly unknown kinetic sculptures.

Text: Titz Susanne, Valentini Francesca et al. pp. 304; 75 COL e 160 bicromie; hardcover with dust jacket. Publisher: Richter Verlag, Düsseldorf, 2011.

ISBN: 9783941263369 | 3941263366

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The kinetically active sculptures and light pieces by Heinz Mack (born 1931), one of the three founding members of ZERO, testify to the group’s effort to replace traditional artistic mediums with immaterial light and movement, so as to create sculpture in space. In this way light-reflecting materials such as pressed aluminum foil, fluted glass or plexiglass in Mack’s early reliefs generate a new perceptual experience. Or a setting of mirroring ­aluminum planes enshrouds the environs, sensitizing us to a spatial experience. The motorized relief structures of his rotor-works increase yet again the number of rhythmic movements, while the prism-works with their color ­spectrum strive for a totality of light impressions. In the large-scale outdoor installations, such as the Sahara ­project, nature and art fuse to produce an endless illusion of space via a ­synthesis of natural and artificial light. While these are only viewable on film, the broad public can today see his kinetic sculptures of light, dynamism and movement in the public domain: on city squares or in office buildings. This publication on the occasion of Heinz Mack’s 80th birthday presents a comprehensive view of early and partly unknown kinetic sculptures.

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